ait 
ite 


is 


| 
iH 


RUS 


et 
Ay 


x 


Eo 


hy? vA 
+) ta? ae : 


IF tg ne 


| 


| 


|south, last week, was like visiting one 


| 


of the ereat museums of painting, for, 
|there, tor a-very few days, were shown 
fone hundred and sixty. pictures of the 
|rarest quality. | 


RECENT < HASE S 


spies in Art Ana 


‘Eo enter the galleries of the Ameri-| | | 
can Art Association, Madison Square 


it was undoubtedly the most inter- 
esting exhibition of a purely artistic 
kind we have had in years) Indéediagy 
cannot recall another one that com- 
pared with it in the spirit of love and 


‘understanding of the best in Art, and 


which alone selected and brought to- 
gether works of such artistic beauty; 
character and greatness. 

Just for the joy of living with them! 


| One felt that surely they were selected 


with the loving appreciation of the art- 
ist. There was something distinctly 
individual about the entire collection, 
broad and catholic though it was, for! 


it had a standard of quality, distin- 


‘guished conception and brilliant exe- 
-cution throughout. 


The one authority—he who knew 


wotth of the highest order—it was he, 


William Merritt Chase, whose spirit 
pervaded the collection. For these pic- 
tures belonged to Mr. Chase and repre- 
sented about one-third of his entire col- 
lection. 


Artist to His Finger-Tips. 


Iirst of all—an artist to. his finger- -tipsy' 
an ardent collector of all things beautiful in 
art, and big and generous in his = 


tion of other men’s ability and achieve- 
ments his happiness has been to buy paint- 
ings in which he found great qualities. The 
artist’s name mattered not! 

For years Mr. Chase has continued to| 
add to his treasures, until house and stu- 
dios were overflowing and many pictures 
had to be stored for lack of hanging space, 
Consequently, a a portion of his collection it 
was which | viewed in the American art 
Galleries Association, and which Mr. Kirby 


jsold in the Plaza ballroom last week, 


il urried to the galleries on the first view 

day to find an enthusiastic crowd already 
there, and I recognized well-known paint- 
‘ers and sculptors, collectors and buyers, 
lart-lovers and critics, at every turn. The 
| greatest enthusiasm was apparent and keen 
|delight expressed. ‘The exhibition is a 
revelation!” ‘Its standard and importance 
Pale absorbing. . ihere is not a weak 
spet! —it might be transferred, just as it 
stands, to a museum.” “A veritable artistic 
feast.” These were among the expressions 
I heard on all sides. 


Dean of American Art. 


thes Dean of Ameérican Art,” he has 
Deen called and 1t is a just title. None so 
willing to say so as his brother artists. 
Ever since hig return from Munich in the 
|late seventies, Chase has stood for the high- 
est in art. Nor has he narrowed! He may 
be called an international man, for he is as 
well known and as widely respected as an 
artist in Furope as he is here, being an! 
honorary member of practically all the: 
greatest art associations abroad, the valued | 
personal friend of most of the greatest liv- 
ine masters.of art and altogether a broad 
‘and traveled man of unlimited knowledge. 


victions. We all know what he has done— 


for American art. 

Yet this exhibition came as a revelation 
tommiany. people. Expert. among, experts 
as he is! -Ilf-there was any doubt about 


rank, it has vanished. 


The exhibition and sale of the Chase col-' 


and is doing, in painting, his wonderful in- | 
fluence as a teacher, and what he has done | 


Mr. Chase as an authority of the very first | 


Personally he is beloved generally; but like. 
all strong men he has his enemies. He is! 
absolutely fearless and stands by his con- | 


Iechion) marked an*-epoch in art annals. : 


Over four thousand people visited the ex- 
hibition; in fact there was not an hour 
| that the galleries were not thronged while 
the collection was on view. 

As. 1 left the galleries that Monday I 
spied Mr. Chase just ahead greeting friends 
right and left. 

ao should think you would hate to part 
with them,” said one lady with.a poodle 
dog under her arm. 

“T would,” he replied, “if I had not many 
more at home.” 

“But you haven't given up collecting, 
have you?” she persisted. 

“Oi no!’ said Mir. Ghase “thats just. it. 


‘must see them, they are be 
the one nay thie {Lie het aad me 
‘with it and I heard no more. 


Marie Ann. 


I recently bought two superb Migeeey 204 


still dite 


—. 


follows: 


‘Landscape with Cows,” Mauve; M. C. Migel. 
‘On the Balcony,’ A. Stevens; R. C..Vose.... 
‘‘Near Venice,’’ Rico; M. Knoedler & Co..... 


“Study of Cow,’”’? Van Marcke; F. A. Vanderlip 


i*RBack of Venice,’ Ziem; M.. C. Miceli rem 
‘“‘Boats on the Beach,’ Boudin; H. A. Thorne. 
‘Still Life—Ovysters, etc.,” Vollon; Row@y Vose 
‘Interior of Mosque,” Pasini; F. A. Vanderlip 
‘Harbor Scene” ‘Boudin’ A. C. Barieseaoe cee 
‘The Seine—Paris,” Lepines-A. A, Healy... 
* Marine,’ Mesdage» Hlaritsom sVWilliamasicereds 
*TTouses at Scheveningen,’? De Bock; S. Field- 


“Outskirts of Paris,’ Raffaelli; H. E. Stoeler.. 
“The Italian: Coast” Ricos ay Ag wititonie seem 
“Head of Brittany Girl,’ A. Stevens; M. Sneed 
“Autumn Landscape,” Monticelli; F. A. Van- 

Gérlip’ +s cage cies = A Roles ce eee 
“Over the Great Moors,’’ Michel; Col. Robert 

Woodward). se vie 2% Rls cued ee in eee ee 
“The. Big Black Kettle,” Emil Carlsen ban. 

V atidertipcses.). cutscene deta cen ee eee 
‘Village on the Cliffs,” Bruckman; R. Seekel; 
Fruit,” Mettling; S. FPreldimess.ae 
“Confidences,” Myron Barlow; F..A. Vanderlip 
‘La Communicante,’ James Wilson Morrice; 

WW. Seaman, Maeent ., \vecl, eee 
A’ Poet,’’. H. S. Hubbell; Miss: lausag@opena 
“Patient Fisherman,” Forain; A. C. Batnes. «: 


At the first session seventy-eight pic- § - 
tures brought a total of $22,415. Those 
which brought $300 or over were as 


$600 
525 


400 
1,150 


610 
399 


420 


Pictures sold at the Second” session 


brought $29,405. 


“Landscape,” -Innless; Ho As Vandenrlipa anaes 
Head of a Young Woman,” A Stevens cmikees 

HL EEZOR saat so ape te 2 eal eee Spee 
“Tandscape—Dieppe,” Vollon; R. Seckel...... 
Fish,” Vollomn; Hy Ato Dno snes scien eee 
“Three Girls,’ Monticelli; Otto Bernet, agent. 
‘Cattle Grazing,” Van Marcke; W. C. Migel.. 
pat ecient Landscape,” J. Dupre; F..A. Vane 

Clue Marre ware ere Cm Sarees Sy Sis Sk 


14 Girl Knitting,’ Mauve; H.-Bs Stoenmuaneneer 


“Children Playing on the Seashore’ (water- 
colors); Blommers:: Mi, “Eiane ae eee eee 
“The Bathing Hour,” Boudin; H. A. Thorne. . 


ge Sleeping Soldier,” =D. A;~ Gros) bee vere 


CLO rlip cae sce las tere ah sooker sous) SOU ele ee 


Young Musician,” Roybet; Bi Willamcpe seen 


A 2DASCAD Es VeOL LOI. Vier Lo Ogii Ss Umer mae 
*Hish in the Market,’ Vollon; W. A. Putnam. 
‘Sheep, *” Mauve; Holland Gallertesen sens 
“Lady in White Satin,” F. Willems; Henry 

Seis) a ts ee Rina NEA 
*“Head of a Woman,” Abbott Thayer; Otto 

Bernetagent 3. sl.) bss ace eee 
‘Flowers,’ Vollon;- N.sSnead. >... oc. ee 
“Group of Arabs,” Frank Brangwyn; H. E, 

Ste ltt aaks Ves die aes Beams bec eae ae 
A Fete,’ Monticelli; Meredith Hare,.2.... 2. 
“In Serious Mood,” J. Frank Currier; Sam S. 

White, 3d =. 3400-0 Salerno ne 
“Shawangunk Mountains,” Inness; F. A. Van- 

GOT LED) vg hice B08. «x's eit bord ne 
i Bathing Resort,” Boudin; My Hare, eee eee 
“Frosty Morning in Normandy,” C. H. Davis; 

(Dea ec Et Or cba his a ID Sr 
fA sPicnic Party,’ Monticelli: M:Harew..... 
(‘Sleeping Girl’ G. H.-Breitner; F. A. Vanderlip 
“Courtship,” Bastien-Lepage; M. Franklin.... 
‘Expectancy,’ A. Stevens; Knoedler & ‘Co.... 
The.’Cello Player,’ Whisltre; F, A. Vanderlip 


$540 


S50; 


360 
300 
400 
850 


430 


430 _ 


430 
300 


300 
360 
450 
350 
400 


400 
350 


480 © 


390 


510 | 


400 


1,275 | 


300 


340 
1,125 
320 
310 
900 
825 


“The Harp Player,’ Kenyon Cox; Metropolitan 


Museum 


6) 016 Sees O ld 6 bin Eels lean Ise ie ea celles) ak eapieener naam 


390 | 


- 


i es 

i 

| ae 
H 

i 


ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


Mapison Square Soutrn, New York 


BEGINNING SATURDAY, MARCH 2np, 1912 


THE PRIVATE COLLECTION 


OF 


WittiaM Merritt Cnase, N. A. 


ree 
i eee 


UNRESTRICTED PUBLIC SALE. 


IN THE GRAND BALLROOM OF 
THE PLAZA 


ON THURSDAY AND FRIDAY EVENINGS 
MARCH ‘ru AND 8rn, 1912 


BEGINNING AT 8 O’cLOCK 


| ‘The Artist’s Daughter,” 
|The _Masquerade : tail” 


SMe aimee Night’s Dream, figs 
Kmocdier & Cov .s 1+, te grag eee 


Grand total Se SWRA Oy ere ‘eee amt, 3 : ee 


we he Pa Buin, 3 ES 


4 
A 


“ILLUSTRATED CATALOGUE 


OF THE 


VALUABLE PAINTINGS 


AND 


WATER COLORS 


FORMING THE PRIVATE 
COLLECTION OF 


WintuiAM Merrirr Cuase, N. A. 


TO BE SOLD AT 
UNRESTRICTED PUBLIC SALE 


ON THE EVENINGS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, or 


THE AMERICAN ART ASSOCIATION, Manacers 


NEW YORK 
1912 


a 


Press of THE LENT 


137-1389 East 25th Street, 


i 


& Grarr Come ; 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractionad advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof. for damage or injury occasioned 
thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shail be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 
and although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for 
such services. 

Tue AMERICAN ART ASSOCIATION, Manacers 


THOMAS EK. KIRBY, Avcrionerr. 


MR. CHASE’S PICTURES 


This really remarkable collection of Mr. Chase’s 
presents to the truly artistic judgment not merely 
an opportunity of a lifetime, as the saying goes, 
but what is better and rarer—what amounts to 
a lifetime’s culling of the world’s art markets by 
one of the men whom the Government calls upon 
for expert opinion, who is familiar with all Euro- 
pean and American art, and who exploits nothing 
as a collector except excellence of painting as 
such. 

The collection is of unusual interest to genuine 
picture lovers—the true amateurs and connoisseurs 
of painting. Its interest to artists is so obvious, 
emphatic and well recognized that it need not be 
dwelt upon. It differs from all collections which 
have been sold at auction in this city. It was 
brought together neither to adorn a home, nor to 
form a collection, nor with the thought of seiling. 
Mr. Chase is authority for the statement that he 
never bought a picture with the idea of ever selling 
it, and his friends know that this is so. He bought 
in every instance because he found in the picture 


something which represented accomplishment in 


art—usually that elusive and mysterious character 


of excellence and achievement known as “quality,” 
a stamp of distinction and professional success in 
the art of the painter. 

It may almost be said—of those not themselves 


artists—that to like a painting in the Chase collec- 


tion is to be a connoisseur. 

The paintings for the most bea aside from 
being beautiful pictures, reach the emotions 
through the intellect. The beholder feels with 
them and understands them. He could not con- 
tent himself with standing off and admiring them. 
He comprehends presently Chase’s attitude and 
experiences, which, when he has failed to purchase 
a picture which he knew to be good, have prevented 
him from sleeping, and sent him back again after 
the picture, even if he had to pay more money 
for it. 

‘Suppose I had bought an automobile,” one can 
fancy Chase saying, “or made a trip to Egypt, 
instead of buying some painting. I am sure the 
automobile would be smashed; a trip to Egypt is 
a possibility of any time; but I have got these 
paintings and all that they have given me.” 

He has bought the paintings anywhere he found 
them—in the artists’ studios, the dealers’ shops, 
the auction rooms of the world. The fact that 
he had a good painting by an artist never stopped 


igh alec’ Thao These a ees aoe 


him from buying another of the same man’s works, 
or another, or another, if he found another with 
the quality he sought. : 

Some of the canvasses in the collection are of 
museum importance. Some are distinguished ex- 
amples for lesser galleries. All are ‘painters’ pic- 


tures,” 


and few but would adorn any home made 
theirs. Some there be so specifically artistic that 
one would create an environment for them. Some 
of the pictures have been kept in Mr. Chase’s 
various studios, and others have been the familiar 
companions of his home on Stuyvesant Square. 
_ The writer asked him one day which among those 
at his house he liked best. The answer sums up 
the collection: 
“I have eight children,’’ said the painter, 


épaules en haut; ‘I love them all alike!’’ 


Dana H. Carro.u. 
New York, February, 1912. 


FIRST EVENING’S SALE 
THURSDAY, MARCH 7, 1912 
IN THE GRAND BALLROOM OF 


THE PLAZA 


FirTH AVENUE, 57TH TO 58TH STREETS 


BEGINNING AT 8 O'CLOCK 


y~ 


F 


No. 1 
EK. MATHON 


LES CHANTIERS DE CATEAUN A DIEPPE GO 


ee cas 


Height, 74% inches; length, 121, inches. 


eee OY La 
The title with the letters E. M. in monogram 
appears on the back of the panel. An inlet at 
the rear of an out-of-the-way quarter of a sea- 
board town puts in from the left, its starch-blue 
waters filling the middle distance between a fresh 
ereen foreground shore and the town which bounds 
the head of the basin. At the right, on a sloping 
bank, are the hauled-out sailing boats of the dock- 
yard which have not yet been put in commission 
for the spring. Far at the left, beyond the town 
buildings, tall masts rising above the roofs and 
trees suggest the harbor shipping. 
Signed on the back with the monogram, E. M. 


oe 


a Ne Te oat ee ee Be 


Nea 


\ No. 2 


HARPER PENNINGTON 


AMERICAN, CONTEMPORARY 


A READER 


Height, 914 inches; width, 51% inches. 


a 


“If it had a butterfly on it, it could pass for a 
Whistler !”—the spontaneous remark of a lover 


of painting, which will be echoed many times by 


- those who view the panel. 


A handsome girl, beautifully painted. She leans 
gracefully at ease against the back and corner of 
a gray sofa, over which a light turquoise-blue robe 
is thrown, resting her open book on its rolling arm. 
Her right arm, flexed at the elbow, supports her 
head, the fingers buried in her wealth of chestnut 
hair. She faces the spectator, turned slightly to 
the left, her eyes steadfastly on her book. Their 


expression, the expression of the whole, shows that 


she is really reading. Her dove-gray kimono, — 


splashed with flowers of delicate colors—some with 
heliotrope effect—falls to a deep-toned rug’ that 
has the aspect of ancient and weathered colored 
marbles. A symphonic poem in paint; a lovely 
little picture ! 

Signed at the upper right, Harper Pennington. 


No. 3 


GIUSEPPI DE NITTIS 
ITALIAN, 1846-1884 
ad FS, 
WINTER | / — ; a 


_ Height, 4 inches; length, 51, inches. eee 
vo aes ce acme : 


An atmospheric morsel, full of the season, and 
of action. A broad, snow-covered road leading 
away from the spectator, beside a park, is filled 
with the carriages and pairs which were the glory 
of the fortunate in the pre-automobile age. The 
snow is not deep enough for sleighing, and seems 
only an early, half-expected presage of winter’s 
onslaught. ‘The equipages pass in both directions, 
drivers and footmen are muffled, and the spanking 
teams are laboring at a good trot. At one side, =» 
along the park, are two equestrians, one a woman 
on a gray. Within the park, snow-laden pines rise 
high above the road, appearing in the misty sil- 
houettes of a late winter afternoon. The reputa- 
tion of de Nittis in Paris as a clever painter will be 
well remembered by followers of the arts, and one 
charm of his work is here. | 

Signed at the lower right, De Nittis. 


| ) 
fin Wi We 
/ 
| No. 4 
BY ALEXANDER HUGO BAKKER- 
KOREFF 


DUTCH, 1824-1882 
2 bd OLD LADY KNITTING 


Height, 6%, inches; width, 5 inches. 


(Panel) 
ay Boa Vosges oe 


A most comfortable homely scene, full of color, 
indeed of colors, yet made harmonious by 
the painstaking painter, who has allowed no 
detail to escape him. <A _ painting with the 
Meissonier quality, which permits study under 
a magnifying glass. ‘The old lady, of full 
features, is seen at full length leaning com- 
fortably back in her armchair, knitting and smil- 
ing at her work. Beside her is an urn and her 
teacup—at the other side a large open book. Her 
feet rest on a footstool. Back of her are furniture 
and cabinet ornaments. Her buff skirt is covered 
by a black apron; she wears a white shawl and a 
white cap, over which a black lace scarf is thrown, 
which falls to one shoulder. Her ball of white 


yarn has fallen to the rose-pink rug. 


Signed at the lower left, A. H. Bakker-Korff, ’70. 


No. 5 
: ANTON MAUVE 
‘Sis putcH, 1838-1888 


COWS UNDER -TREES—STUDY FOR A 
LARGE PICTURE 7 


Height, 51% inches; length, 91% inches. 


PEO FQ. Vane | 
This small panel was sketched or painted as a 


study for a large picture, and shows somewhat the 
processes of the painter’s art. It is done largely 
to note the effects of light, and to fix the main ele- 
ments of the composition, with suggestions of the 
color. ‘The cows, black and white and some red 
ones, are barely indicated in the deep shadow of the 
small grove where they have taken shelter from 
the sun, near a pool which reflects the trees’ trunks, 
with a green field beyond. 

Signed at the right (and marked “Atelier’), A~ Mauve. 


BCD a et 
c 2 1 Ae . 
; 


No. 6 
FRANCISCO DOMINGO Y 
MARQUES 
SPANISH, 1843- hia 
A SPANIARD aioe 


Height, 11 inches; width, 8 inches. 


eae beable ee. 


A drawing full of dash and go, in handling, not 


(Water Color) 


in subject. ‘The Spaniard in an attitude of non- 


chalance stands with his weight on one foot, and 
resting on a staff in his right hand, before the 
corner of a building in the street, left hand on 
hip and arm akimbo, gazing to the right with mild 
interest but more indifference. His gray, tight- 
fitting trousers are flowing at the ankles, and he 
wears a wine-colored waistcoat. At his side a 
whitish-gray donkey is amusingly sketched. 

: ierd sat the lower left, Domingo, ’67. 


¢ 
" 
—_— 
c 
eer 
e 
¢ 
a 
. 
o~ 
< 
oe 


FRANCISCO DOMINGO Y 
MARQUES 


SPANISH, 18435- 


ee SOLDIERS ON HORSEBACK 


Height, 444 inches; le: , 934 inches. 
—_— co 
L350 = | ie 


Three lonesome troopers heavily accoutred are 
making their way cross-country through a steep, 
uneven, grass-grown and rocky field, the leader on 
a white horse, his follow on a mottled mount, the 
third on a sorrel, all at a walk in single file. Far 
yonder, over a hill, farm buildings are suggested, 
but otherwise the landscape looks lonely, though 
its refreshing verdure glistens in the cold, bright 
daylight and crisp atmosphere. Grayish-white 
clouds, rising high above the horizon, all but shut 
out a brilliant blue sky. 


Signed at the lower right, Domingo, Paris, 80. 


: 
q 
? 
f 


No. 8 
RALPH A. BLAKELOCK 


AMERICAN, 184'7- 


LANDSCAPE 


Height, 5 inches; length, 8 inches. 
1 Oe “oe 
Swirling, wind-driven, grayish-white clouds 
move rapidly across a sky whose blue is only 
dimly seen where they are least dense. ‘The land- 
scape below, in autumn colors, seems to partake 
of the gusty confusion—a few trees, and some low 
bushes intermingled with patches of green turf, 
along the borders of a brook at which an animal 
is drinking. 
Signed at the lower right, R. A. Blakelock. 


ANTON MAUVE 
putcH, 1838-1888 


LANDSCAPE WITH COWS 400 


Height, 10%, inches; length, 131% inches. . 
Sg WZ 
In this canvas, instead of studying cattle 
near at hand, Mauve has made them incidéntal 
to a simple, country landscape with rich color. It 
is this color, mainly in various tones of green, that 
gives the canvas its attraction. The painter de- 
picts a broken bank in an uneven pasture, where 
the fuller, coarser growth of grass and weeds are 
dank, and deep in hue, mingled among them being 
blossoms of the field. A dilapidated fence cuts the 
low level of the horizon line, and at its farther end 
cattle lie down or graze. 
Signed at the lower left, A. M. 


By 


= INO ners 


ROBERT BLUM 
AMERICAN, 1857-1904 


THE TOILET 
Height, 91% inches; width 734 inches. 


ec 

a young Japanese woman is seated ona mat of 
olive hue before a diminutive dressing table, above 
whose oval mirror a flame-colored shawl is draped. 
Her mass of black hair is done up in heavy coils 
and puffs, but she has not completed her body 
toilet. Her vari-colored house robes have fallen 
about her waist in irregular drapery, leaving the 
bust nude, as she sits facing the left with her 
back half toward the spectator. Looking into the 
mirror, she is engaged in applying a pomade or 
unguent to her brown neck from a green jar on the 


dresser. 
Signed at the lower right, Blum. 


ae 


yA 


/ 57° 


No.11 


O. FABER DU FAURE | ae ee 
PLAN. 1828- 


ARABS 


Height, 61, inches; length, 12%, inches. 


(Water Color 

se VG ecko 

Arabs on horseback and afoot, some of them 
armed, have lined up about the shores of a small 
bay, where a large sailing boat is anchored close 
inshore—her canvas still spread and flapping in 
the breeze—from which a gangplank has been run 
to the beach. A mounted Arab in command is 
directing the operations between ship and shore. 
The sun is bright on the sands, and there is re- 
markably brilliant color in sea and sky. 


Signed at the lower right, O. F. du Faure. 


ot No. 12 


ALFRED STEVENS 
». : af BELGIAN, 1828-1906 
4 ~ ON THE BALCONY 
ny ; Height, 10%;~inchgs; width, 844 inche 
5 A pretty, fair-haired and _ light-complexioned 


\ young woman of Stevens’. earlier period stands 
at an open balcony window, where she _ is 
seen in profile looking out over the sea. 
Sail and steam craft of a busy harbor are 
visible there, under a blue and star-lit sky il- 
lumined by a brilliant moon, a part of whose disc 
appears at the left. She wears an ornate black 
gown with half-sleeves and jeweled bracelets, and 
a white lace shawl is thrown about her shoulders. 
Her face is brightly lighted, and she seems con- 
tentedly interested in some part of the outdoor 
scene below. Her lips are all but parted, as though 
she would momentarily speak. 

Signed at the lower left, A. Stevens. 


A. LANCON 7 


FRENCH 


THE KING OF BEASTS 


Height, 114% inches; length,,16 inches. 
Aare : 

A powerful, boldly done, presentation of a lion 
lying on a gray rocky shelf or ledge, below some 
low, overhanging branches of green trees and 
bushes. The beast lies at full length, one huge 
paw extended forward on the rock, the massive 
head raised and looking straight to the front, the 
mouth partly open. The tawny coat is vividly 
rendered. A sturdy canvas by this noted French 
animal painter, whose wild animals, particularly, 
have won him attention and praise. The effect 
of power and suppleness in alert repose is marked 
—a picture that can long be looked at. 


Signed at the lower right, A. Lancon. 


No. 14 


LO» (ADOLPHE MONTICELLI 


G > FRENCH, 1824-1886 
FIGURES AND COLOR 


Height, 734, inches; length, 10 inches. 


EN Bee 


been pre-empted, this 


ge eo 


If the phrase had ng 
picture might be entitled Two Ladies of Color, for 


the figures, as usual with Monticelli, are less im- 
portant than the splendor of color with which he 
endues them. What a chromatic revel is here in 
the sartorial investiture of the two ladies, who both 
dress and speak and breathe the air from brilliant 
color tubes, between green and brown trees against 


a confused sky. 
Signed at the lower right, Monticelli. 


3 Go fr 


MARTIN RICO >. 


NG 15 


SPANISH, 1850-1908 \\ | 
V 


NEAR VENICE mo 
Py 


Bee 12% shehas: width, 9 inches. 


A river, of which we see about one-half the w 
in the foreground, sweeps away from the spectator 
shghtly toward the right, bending to the left again 
in the distance, which is closed in by the foliage 
of the banks at the bend. Above the trees there 
the distant spire of a church rises against the pale 
rose of the lower sky, which above is a delicate tur- 
quoise-blue. Along the bank of the stream at the 
left, tall trees lean toward the water without over- 
shadowing it, and at their foot, in the luxuriant 
green growths of summer, people walk or sit, and 
children play amid grasses and flowers, while ducks 
sport soberly on land or water near a rowboat 
moored at the water’s edge. 

The water here is a cool gray, with rich re- 
flections, and the foliage and landscape are done 
with a comparative looseness and delicacy of ex- 
pression that gives them quality, as against the 
hard precision of the more common Ricos. 

Signed at the lower left, Rico. 


y/ vY ¥ - Lat 
/ oie ~ sit 7 we 
v > 
b& A es 
— * 
No. 16 


seg ADOLPHE MONTICELLI 
of Z ton FRENCH, 1824-1886 


HARMONY IN YELLOW 


Height, 13 inches; width, 8 inches. 


HA tas Pa 

de : 7 oe Va : 
One of the artist’s fetching groups of women 

out among red and russet trees, carrying their 
own sunlight with them, irradiating their gorg- 
eous gowns of yellow, scarlet, green and gold. One 

at the right is seated carelessly, her three com- 
panions standing at her side under the brilliant 
foliage against which the black stems of the tree’s 
branches are sharply drawn. ‘The grassy fore- 


ground takes on its natural green the golden tones 


of the foliage and apparel. 


From Cottier & Co. 


Nowy 
GEORGE H. BOUGHTON,N. A. /- ~ 
AMERICAN, 1834-1905 ao 
LANDSCAPE 
. Height, 13 inches; length, 19 inches, etd 
ae Lith? Bie om 


This seems to be merely a study of color harmo- 
nies, in a landscape simple and flat, which attracted 
the artist through the delicacy of the gradations in 
green of the lower surface verdure, sprinkled with 
common field flowers, on either side of a little used 
road that passes across the picture. It carries 
the suggestion of an English heath. ‘The fore- 
ground is bright under a gray sky, which shows a 
greenish-blue at one corner on the horizon. - 


Signed at the lower left, G. H. B, 


“Rg eee? a OO seat eee 3 y 
WA - 6 UP ec 


P my 
| ie 
| ¢ i fod / w“Y ES <a 
Vi ( ) 6 nd “ 
. \ 4 "A PA 
IV V 


No. 18 


EMILE VAN MARCKE 
+ wa | 
3 f FRENCH, 1827-1890 


STUDY OF A COW 


Height, 10 inches; 


: length, 11 inches. 
ge FG. ¢ 


A vigorous and ee study of a large co 


lying down, apparently in the stable yard, back 
to the spectator and head turned sharply to the 
right. The animal’s back, broadened in appear- 
ance by the attitude, is white, spotted with red; 
the neck and head are of a deep red. The play of 
light and shadow on the coat and the massiveness 
expressed in the modelling bespeak the master 


painter. 
Signed at the lower right, Em. van Marcke. 


No. 19 


JOSE VILLEGAS 


SPANISH, 1848 


AN ARAB 


Height, 1134 inches; width, 9 inches. 


(On metal) 


i, Woes (3s Vie Aga 


_ Again and always (in this collection), the paint- 
ing, the accomplishment of the artist. ‘The canvas 
is not a mere picture; the author, curator of the 
Prado, has had something to say. Here is rest,— 
rest though it were neighbor to a_ hullabaloo. 
Against a dull yellow background an Arab, well on 
in years, but of rugged muscular development, is 
seated on cushions, his ankles crossed and knees 
spread, head thrown forward into his hands and 
elbows resting on his knees, across which a white 
robe has been thrown. His sinewy arms are bare 
to the shoulder, his headdress and apparel are full 
of color. His narghile is beside him, the flexile 
stem and mouthpiece dropped negligently to the 
floor, and tells with his attitude that he has had 
enough and is temporarily at a heavy, languid 
peace with the world and himself. 

Signed at the lower left, Villegas. 


\ 
Cc 


No. 20 


F. VINEA 


ITALIAN 


2 4,0 AFTER THE BATH 


Be 


Some young women have been bathing in the 
sea, which shimmers blue in the distance where it is 
brightened by several white sail. Inshore, great 
boulder-like rocks rise out of the water, and more 
of them are on the rough beach of the foreground. 
Among them a lively young lady of merry eye and 
shoulder nude is resuming her clothing in the se- 
clusion they offer. Another girl, in a green dress 
and still stockingless, is seated on a near-by rock, 
drying or arranging her hair, and a tall young 
woman in a Leghorn hat and fully clothed in the 


fashion of the day leans on a rock in the full fore- 


. ground, facing the spectator but with gaze 


averted. ‘The texture of the rock in the sunlight is 
remarkably rendered, and the quality of the water 
between the rocks, and the moist beach where the 
waves have lapped, is also attractively done. It will 
be remembered that Vinea was a swell of the time, 


in Florence. 
Signed at the lower right, F. Vinea, 1880. 


. Height, 10 inches; width, 13 Ca eee 
Wied Qccar 


No. 21. 
GEORGE H. BOUGHTON, N. A. 


AMERICAN, 1834-1905 


5, ih, 
5 j wv “ 
7} ‘L en 
J wa GRACE 
| Height, 20 inches; width, 12 ae 


220 — & ; 

A charming study of the nude, no doubt for one 
of Boughton’s larger idealistic groups, but one not 
weakened by the later process of refinement. Here 
is drawing and modelling, directly done, and ex- 
pression and beauty, summed up in the title of 
the painting—Grace. A young woman of lovely 
features and a mass of rich red hair stands nude 
on what might be a carpet of tender green grass, 
facing the spectator, her head turned slightly to 

: her right and seen almost in profile. Behind her 
are suggestions of distant blue mountains under a 
cerulean sky. Draped from her arms she holds 
_the swirling folds of a diaphanous veil of light 
purple tone, without concealing the modulations of 
the generous, modest figure. Standing on her left 
foot she has extended the right forward, keeping 
the limb straight and planting the toe on the 
sward, her upper body slightly bended as she leans 
her head just far enough forward to direct her 


eyes down to the poised toe. 


y ys 
‘ se : 
ca { —_ >» 
ay of vy a | 
wet t i Ss 
ae ae ee 
so ) = 
No. 22 


GEORGES MICHEL 
FRENCH, 1763-1843 f Le 
LANDSCAPE | 


Height, 93/4, inches; length, 


Peg 


On a hill in the foreground gyerlooking a broad 


valley, which extends to distant mountains, are a 
group of figures in countrymen’s clothes, on. whom 
falls the ight of a waning day. One man seeks to 
play with a small animal, a dog or a lamb. In the 
deep valley beyond them are other figures, and 


farther off some habitations. | 


No. 23 


ROBERT BLUM 
AMERICAN, 1857-1904 


VENETIAN BOATMEN 


Height, 101%, inches; length, 121% inches. 


/ qo nae ae re 
Over the placid blue water, under a sky whose 
deeper blue is partly obscured by tenuous clouds, 
with here and there patches of white, half a dozen 
gondoliers are propelling their black and pointed 
crafts about. Straight away toward the ancient 
city with her familiar domes, a sailboat with can- 
vas up throws the reflection of her red wings on 
’ the water, and to the right is anchored a square- 

rigged vessel with a black funnel. 

Signed at the lower left, Robt. Blum. 


No. 24 


ANTOINE VOLLON’ | 
FRENCH, 1833-1900 fv - 


STILL LIFE 


ea = 


Lying on a table, against~a g¥eenis 


Height, 934, inches; length, 13 "L. 


and red- 
dish-brown background, a few common utensils and 
a fruit or vegetable are made by Vollon pic- 
turesque and fetching. Here is a rich, circular 
copper dish with a flat bottom and two side han- 
dles, tilted against the wall and reflecting its warm 
color in the sunlight. Beside it a brown and yel- 
low covered jar of crockery at once deepens and 
lightens the tone of the group, while near by is a 
long-handled pewter spoon. A canvas of mellow 


tone and quality. 
Signed at the lower right, A. Vollon. 


No. 25 


A. BOULARD 


/) FRENCH 
Al 
| se EXTERIOR 


Height, 13 mG, width, 9 Vike 


LOO ee jaa 


canvas in rich, low” tones, Rhee: G out- 

side of a white cottage with heavily thatched roof. 
A bit of lingering light falls upon one side. Before 
the cottage in the dusk sits a woman with a red 
kerchief enfolding her head, a child standing at 
her knee, and with suggestions of well-aged colors 
appearing enticingly in their garments. A dull 
white cloud is seen against the sombre blue of the 

- evening sky. 

Signed at the lower left, A. B. 


eee 
ee 
esa 


No. 26 


ALFRED STEVENS 
BELGIAN, 1828-1906 
MARINE 


Height, 91, inches; width, 13 inches. 


| (Pastel) — a a 
rele By ie page TF (Uthesbela| 
A very simple marine, with the charm of vague- | 


ness and a winning rendering of values. A blue- 
gray sea, with slight motion in the water, runs 
from the foreground to a low horizon from whose 
flat line the sky rises in one tone of solid blue, 
tinged onee or twice with pinkish tufts of cloud 
vapor. The sun has set but it is still daylight, and 
the moon, well above the horizon, is white. Distant 
sail appear in silhouette and nearer by a black 
steamer is moving, the dull smoke from its funnel 
drifting lazily down the gentle wind. 

Signed at the lower left, Alfred Stevens. 


ae’ 


a 


No. 27 


A. BOULARD 


FRENCH 


Naas 7 


|¢ “FRENCH PEASANT HOUSES 


Height, 101% inches; length, 13% inches. 


ves (Panel) 


A group of stucco buildings with steep, thatched f 
roofs, appears in the evening dusk under the dark- 
ened sky. Light is still tingeig the lower clouds 
along the horizon, back of a wooded hill which 
rises between the two principal houses. Against 
the walls in the right foreground some figures bend 
over a fire that has been lighted there, which 
throws strange shadows on a neighboring rough, 
white wall. Near the fire a tall woman is seen ap- 


proaching. 


No. 28 


W. L. BRUCKMAN 


DUTCH, CONTEMPORARY P, 


THE BACKYARD 


Height, 11 inches; oe. e incl - 
pei ae ss SF sees To 


comfortable bit ae the ee Countries, reveal- 
ing a homely scene of domestic industry and ap- 
parent content. Old Dutch houses with steep, red 
tiled roofs close in the clean backyard, whose 
grassy carpet is kept green by the stream which 
borders it across the foreground. Doors and 
windows are open on a sunshiny summer day. A 
pollard willow leans over the stream at the edge 
of the bank. Here a woman is engaged at wash- 
ing the household linen, while back of her an 
older woman in a blue skirt, white waist and cap, 
is making her way up the doorstep, and another 
old wife in a plum-colored blouse stands in the 
shelter of a porch. Bright, warm sunlight makes 
the place glow, under a sky showing light-gray 
clouds. 
Signed at the lower right, W. L. Bruckman. 


[ stt 
{ ¢ 

No. 29 
LOUIS METTLING 


FRENCH, 184'7- 


WEARY OF SPINNING 


Height, 1334 inches; width, es inches. : 
re 
A 


young woman in a white waist, low cut, with 
flowing sleeves, and wearing a heavy gold neck- 
lace, has turned from her spinning wheel of mahog- 
any tone and relaxed languidly in her high-backed 
chair, feet extended and ankles.crossed. One hand 
rests limp on her lap, the other has dropped at 
her side, still holding a strand of her work. She 
has dark hair and comely features, a gentle color 
in her cheeks and the suggestion of a tired smile 
on her lips. Her bright blue skirt is all but cov- 
ered by a rich, dark blue rug thrown around her, 
with broad white bands adorned with floral scrolls 
in red, green, blue and yellow. The quality of the 
painting in this rug, its texture and surface as well 
as the color, take the connoisseur’s eye at once, and 
a neutral background leaves this all to be uninter- 

ruptedly enjoyed. 3 
Signed at the lower right, Mettling, ’69, 


No. 30 


C. WESTERBECK 


DUTCH, CONTEMPORARY ee 


DUTCH CATTLE 


oO etteight, 91/, inches; length, 15%, O'S 
| In a vague and misty atmosphere with gray and 
grayish-white clouds hanging low over the level 
land, a broad bit of Holland is depicted—a shal- 
low, reed-grown river or inlet meandering through 
it—in tones of sandy brown and green. A gentle 
breeze or the force of a current marks the gray 
surface of the stream with broad, low ripples of 
white. At the left in moist green grass some Hol- 
stein cattle are grazing—a _ reddish-white cow 
among them—and picturesque Dutch windmills 
dot the landscape. 

Signed at the lower right, C. Westerbeck, 


Weg! 


4 


7 


No. 31 


FRANK MURA 


AMERICAN, CONTEMPORARY 


THE LITTLE SHEPHERDESS 


Height, 814 inches; length, 1444 incnes. 


/00 


A vague and sentimental landscape with the 


Millet suggestion of peasant life and homely habi- 
tation. In the subdued lght of late afternoon 
which falls upon the center of the composition, a 
small shepherdess is seen leaning on her staff, her 
flock grazing about her on a gentle slope of ver- 
dure. She wears a brown habit with a bluish- 
green apron and a red kerchief on her head. At — 
the crest of the incline a farmhouse projects from 
the shadow of sheltering trees. A poetic expres- 
sion of the bucolic life in a quiet moment. 


Signed at the lower left, Mura, 


<> 28. 


he od 
No. 382 
DE WILD 
ene CONTEMPORARY Cf I 


FEEDING TIME 


9 y ay Height, 8, oy length, 16 ap ny, 


A sketch or study in low key of lic carriages 


drawn up under the shelter of a high shed, as about 


a railway station, and opposite a row of gray 
buildings with red window shades and adjoining 
gardens. ‘The brown horse of the nearer fiacre is 
feeding from the curb, the oblivious cabby on his 
seat turning toward the spectator, while beyond 
are other cabs and their drivers, who have dis- 
mounted, appearing in the shadows. 


Signed at the lower right, C. T. L., or C. F, L., or C. J. L., 
De Wild (of the Hague), 


No. 33 


q4 J. H. TWACHTMAN 


p if . 
ae AMERICAN, 1853-1902 


WORLD'S FAIR EXPOSITION BUILDINGS 


9 Height, 12 inches; las 16.4 
© fee 


is. OA VhE 
a exhibition ae wae there domes, tur- 


rets and flags are seen under a pale gray sky 
patched with white clouds, across a lagoon which 
reflects their faint buff tones and the neutral hue 
of the sky. Men on the nearer bank are surveying 
the scene, two of them conversing and a third 
standing alone on the bank. Out on the water a 
gondola is filled with passengers. 
| Signed at the lower right, J. H. Tiachenge 


No. 34 


— 


FRANCOIS SAINT BONVIN iP 
FRENCH, 1817-1888 


THE BLACKSMITH’S HELPER 


. r 5 Height, 16 inches; width, 101%, ingnes. ~ WU p / 
—— 6G ( 
7 ra ¢, Cele. . . 


A tall, loose featured country youth of stupid 
expression stands three-quarters to the front be- 
side an anvil, in a dusky smithy, his hands crossed 
on the handle of a heavy mallet, gazing aloft. His 
white shirt is open at the throat and he wears a 
heavy leathern apron. About the foot of the 
anvil-rest horseshoes are scattered on the floor. 
In the background the red-shirted blacksmith has 
his back to the spectator as he watches and fans 


the forge. 


: 
/ 
| 


_— 


2 J 

ee a he 
é 4 & i y di 

for AQ ¢ & vy 

Ag Vn he Ve : 
» 0. 85 
f 
Se” / 
; FELIX ZIEM 


FRENCH, 1821-1911 


BACK OF VENICE 


=i Ce 


a 


Height, 101% inches; length, 16 Ne 
7 4 


The city, white and pink, with its towers and 
domes looms low in the middle distance on the 


farther bank of a canal which traverses the can- 


“vas from left to right. At the left sailing boats 


are moored, the reflections of their richly colored 
sails and those of the brighter buildings appearing 
in the rippling water, projected toward the spec- 
tator. A bend in the stream in the right fore- 
ground carries it around a point of the nearer 
bank shaded by trees which lean toward the water. 
Under their sheltermg boughs picnickers have 
landed, their punt shoved onto the beach. 

It is difficult to realize in these filmy, freely- 
painted trees and foliage—filmy as those of Corot, 
almost—the -Ziem of the familiar type: Here 
again is manifest, as so often throughout this 
collection, the sort of canvas Mr. Chase sought— 
and found; canvases of a painter-like quality, not 
mere products of a picture-making studio. 

Signed at the lower right, Ziem. 


¥ 


4 O 


No. 36 


EUGENE PAUL ULLMAN 
AMERICAN, CONTEMPORARY 
CORPUS CHRISTI PROCESSION 


Height, 1234 inches; length, V inches. 


OG 


pio = Ebates Oe 


The view taking in a goodly ree Cl land- 
scape about a French seaboard town, centers on a 
quay and basin of the port. In the immediate fore- 
ground the broad quay is deserted save for occa- 
sional figures coming and going, chatting in 
groups, or watching the procession of innumerable 
figures which is marching along the borders of the 
basin, the figures merely indicated in the mass of 
black, white and red. At the right the quay is 
bounded by a line of gray-toned houses, with high, 
irregular roofs of varied color. The basin, and 
beyond it another basin, are filled with picturesque 
shipping, and distant landscape and sea appear in 
suggestive lines of pale blue, white and green, be- 
neath a dove-gray sky. 


Inscribed at the lower right, “To my friend and teacher, 
William M. Chase. Eugene Paul Ullman.” 


Es 


No. 37 


JEAN LOUIS HAMON 
FRENCH, 1821-1874 


WALL FLOWERS 


ee 81%, inches; length, Ty, ae 

[9g | Vets 
That they are “wall flowers,” “these seven demure 
maidens, is patent at a glance. Yet one may look 
and one might wonder that such should be, if one 
were old-fashioned. Probably “The Girl’s” answer 
to-day would be that ’twas because they were de- 
mure. All in a row they sit, the seven timid 
visions of buxom youth, in low-necked evening 
gowns that once were fashionable, some with old- 
fashioned cornucopia bouquets, in a brilliantly il- 
luminated room before a mirror which reveals 
dancers. ‘I'wo at the end of the row exchange ob- 
servations, behind one’s uplifted fan, on the 


dancers. . 
Signed at the lower left, L. Hamon. 


a 
Ao |¥ 
i ~) % “~ a) 
b a” md 
re > ; jw ots a 
d Sed | 
No. 88 


ANTOINE VOLLON 
FRENCH, 1833-1900 3 


"s 
L a LANDSCAPE—TREPORT 


Height, 101% inches; Ce 16 ipches. 
AD () 
Here the painter of stun eee lifes and/ in- 


teresting portraits is seen as an artist who 


could put quality into whatever he did. This land- 
and sea-scape reveals the French town as a cluster 
of roofs, seen from the grassy heights behind it, 
the spectator looking over the buildings to the sea. 
And what color and quality everywhere, in the 
moist grass, the clear atmosphere over the land, 
the tiled roofs, the inviting, fascinating turquoise 
haze through which the Channel is seen! The 
whole is under a gray sky whose whiter clouds 
near the horizon take the faintest pink tinge. 
Characteristic in every way, it is a lovely picture 
by an able, versatile and true painter. 


Inscribed and signed at the lower right, Tréport, A. Vollon. 


No. 39 


FRANCOIS FLAMENG 


FRENCH, CONTEMPORARY 


A BALL GAME AT TOLEDO fee 


Height, 121, inches; width, A7 inches x: 

aoe rae 

Under the battlemented Puerta del Sol—Gate of 
the Sun—some players are engaged at practice 
for their favorite ball game, pilota, working at 
it in the roadway while idlers look on. The road, 
up which the spectator is looking, passes along 
the crest of an escarpment bounded on the left by 
a parapet which protects the sidewalk from the 
declivity below. Seated on or leaning against 
this and at the curb, men and women gossip or 
cursorily turn to look at the players. To the right 
of the road the walls rise in red and smoky mass 
against a brilliant blue sky, the whole in a flood 


of sunlight. ; 7 
Signed at the lower right, F. F. ’89. 


No. 40 


LOUIS EUGENE BOUDIN 
FRENCH, 1824-1898 


BOATS ON THE BEACH 


Height, 14 inches; length, 181% inches. 
sig Os Names af 


Heavy working boats, blue, green, black and 
red, have been hauled out on a low, irregular sandy 
beach which makes the foreground. Beyond them 
the greenish-blue sea is calm, yet there is the move- 
ment in the water which is never absent from the 
ocean; and in the distance appears a steamer under 
a gray, clouded sky. In the shelter of one of the 
hulls, two old men are working at the nets, which 
have been hung over spars to dry. 

The moisture of the beach, the feel of the sea- 
shore, the charm of old boats to the sea lover, and 
the handling of the colors here to the painter and 
the picture lover,—all combine to hold admira- 
tion and attention. 

Signed at the lower left, HE. Boudin, ’92. 


No. 41 


ANTOINE VOLLON 


FRENCH, 1833-1900 


STILL LIFE—OYSTERS, ETC. 


> eee 12%, inches; length, 16 inches. 
Le Ox CLenmyru 


A canvas not only delectable as a painting but 
which might fairly be said to be appetizing. Just 
a small heap of oysters in their shells, two of them 
opened, lying beside a group of pink and curled-up 
écrevisses, but what quality! And dexterity of 
brush! In the color and substance of the opened 
oysters the rendering and fidelity is little less than 
remarkable. And the combination of these simple 
and succulent gifts of the sea makes under the 
painter’s vision a most agreeable picture. 


Signed at the lower right, A. Vollon. 


vole 


No. 42 


wt 
JULES ALEXIS MUENIER 


FRENCH, CONTEMPORARY 


TWILIGHT—A FRENCH VILLAGE ne Oo = 


ne 


Ee ee 18 pees ie th, 15 inches. 
/ AVL 
A small Pinks or Geen Ln. French vil- fe 
lage is shown, with buildings rising ahead and at 
the left. Beyond those at the head of the street a 
green hill, supporting a few slight trees, mounts 
into the twilight mists. In the foreground the dusk 
is deeper and a yokel stands there, hands in pocket, 
before a door in which an old woman in a white 


cap stands gossiping with him. There is a sug- 


gestion of Bastien-Lepage in the canvas. The 
painter is represented in the Luxembourg. 


Signed at the lower right, J. A. Muenier, 89, 


No. 43. 


FRANK MURA 


AMERICAN, CONTEMPORARY 


_ THE WHITE CALF 


Ya . 
~~ 


- Height, 14 inches; length, 21 inches. 
fog of 


Some cattle are feeding on the coarse grass t 
grows between clumps of bushes, in a low hillside 
field that slopes gently forward and to the right 
toward outbuildings and a barn partly screened by 
trees. Across the picture stands a fulvous cow 
grazing, and from her her white calf is ambling 
toward the spectator. The artist has made a care- 
ful study of the lean cow and the lanky calf, into 
whose clumsy walk he has put a good deal of ex- 


pression, 
Signed at the lower left, Mura, 


we 


F 


-_ No. 44 


GASTON LA TOUCHE 


FRENCH, CONTEMPORARY 
THE GREEN BATH ROOM 
Height, 16 inches; width, 131% inches. 


(Panel) 


ai 4, 0 <S— 


A painting of quality, both in the/color/nd in 
the rendering of the nude flesh, to hold the atten- 
tion of the painter and amateur at once. The elab- 
orate bath room is completely finished in tones of 
malachite-green, with here and there suggestions 
of aubergine, and the interior of the tub appears 
purple. In front of the tub a young woman with 
reddish-brown hair and solid, beautifully modeled 
figure, is seated, turned to the left, but with her 
face toward the spectator. She is leaning forward 
and gazing thoughtfully at the floor, her arms be- 
tween her knees. Her white drapery has dropped 
about her feet. The figure is charmingly painted 
and the play of lights and reflections on the flesh 


has been a fascinating painter’s study. 


Signed at the lower left, Gaston La Touche. 


See 
PS 


No. 45 ( 
ALBERTO PASINI | ( 
(S 


TrALNAN, 1826-1899 


INTERIOR OF A MOSQUE 


Height, 164, inches; width, 131% inches. 
eo eee 7G 
A quiet, dignified picture, of most agreeab 
color harmonies, the soft gray of the mosque walls 
linking suavely the rose of a curtain over a lofty 
window and the emerald-green of a rich fabric 
ornamenting the lower wall of an embrasure, in 
which an Arab sits beside an open lattice. Outside 
the window are seen a few green bushes of a gar- 
den. ‘Toward the right, opposite the window, the 
canvas tends to a half obscurity, within which is 
discerned a canopied shrine. . 


Signed at the lower left, “a mon ami Berchere, A. Pasini, 
1878.” 7 


TA) ee 
ae a | 
bee Vie 
wf  NOAG 


~~ \YOUIS EUGENE BOUDIN 


FRENCH, 1824-1898 


HARBOR SCENE 


Height, 13 inches; width, 18 ey 
if ab SE (Ge WZ IO ANNALS 


— 


We are looking straight away along a quay, 
deserted in the foreground, populous in the mid- 
dle distance with people making their way from 
among the buildings at the right toward a group 
of working sailboats lined up, side by side, in the 
river, with their stems against the bulkhead. The 
lateen yards of the vessels relieve the straight line 
of the bulkhead coping, and the group of active 
persons make a picturesque center of interest in the 
somewhat diversified composition. In midstream 
at the left the bow of a steamer, her foremast 
square rigged, is pointed toward the shore as she 
swings broadside to the spectator. ‘The sky is 
smothered in cumulo-stratus clouds which leave 
only a single patch of blue visible in an upper cor- 


ner. 


in eo 
as: 
i tal Sas 


No. 47 


BENJAMIN HAWLEY 
AMERICAN, CONTEMPORARY ' 


IN THE CAFE 


Height, 18 inches; length, 214, indfles. 
La a Ve g&. 


The interior of a café chantant is depicted, wit 


a variety of life and color, yet with a pervasive 1 


determinate tone which gives the canvas a certain 


~charm of quality. The usual motley attendance is 


pictured, watching,—or very largely not watch- 
ing,—the dancing and singing figures on the small 
stage. Silk-hatted men, men in evening dress, and 
long-haired denizens of “the Quarter” are at the 
small round tables, with women in various atti- 
tudes. On the walls one may learn from placards 
the price of beer and other refreshments. 


Signed at the lower left, Benj. Hawley, Paris. 


MO 


No. 48 


ANTONIO MANCINI 


ITALIAN, CONTEMPORARY 


HEAD OF A YOUNG ITALIAN GIRL 


2 Height, 21% inches; width, 15 inches 
Here speaks Italy, with the dashing stroke and, 


clear voice of this free and lively painter, even in 3 


treating of the worn and oppressed. ‘The head is 
that of a young woman of positive Italian type, 
somewhat faded, with black hair, sunken eyes, and 
stolid, drawn features, all mercilessly rendered 
with a facile, truthful brush. She wears a waist of 
pink and blue stripes with white lace at the throat, 
and a filmy scarf carelessly drawn across her 
shoulders. ‘The painting is characteristic of Man- 
cini, but this canvas is rather an unusual one for 
him. 


Signed at the upper right, Mancini. 


wo 


4 =, A) 
<< Be ae a 


at No. 49 


STANISLAS LEPINE 
FRENCH, 1836-1892 


THE SEINE—PARIS 


Height, 113%, inches; length, 19 inches. 


(Panel) 
RoW, Bie bie Ga 


A canvas that sings of blithesome life and days, 
as Lépine’s so often do, but quite different from 
his usual landscape of trees and water. The point 
of view is on the right bank of the Seine some 
distance east of the Ile de la Cité, where the trun- © 
cated spires of Notre Dame rise in the far dis- © 
tance of the central part of the composition, and 
across the river the domes of institutions of ‘the 
Latin Quarter. The right bank in the foreground 
is dotted with industrious people going about their 
simple daily affairs. One or two have ridden 
horses into the stream to drink, or to cool them 
off on a hot Summer day, and some boats are 
moored near by. ‘The whole landscape is flooded 
with sunshine, which, golden as it falls upon the 
sloping bank, silvers the river under the reflec- 
tions of a sky so massed with white clouds that 
scarcely a tinge of the blue cerulean is visible. 


. Signed at the lower right, S. Lépine. 


i. 


No. 50 


ROBERT ALOTT 


MARKET IN THE ORIENT Z sees : 


Height, 23%, inches; length, 141%, inches. 


i ig Se: AVY 

Before a doorway of a tall mosque whose gray- 
ish-yellow walls rise high, a group of sidewalk 
merchants stand and sit at an angle of the walls, 
in picturesque, varicolored attire. Scattered 
among them are vessels and vegetables. Some of 
the figures carry head or back loads, and a num- 
ber have gathered at the portal of the building, 
raised some steps above those on the ground. 

An artist not well known here; but the work of 
a man who knew how to paint. 


Signed at the lower right, Robert Alott, 1884. 


No. 51 


HEINRICH ZUGEL 


GERMAN, 1850- 


A NARROW PASSAGE 


2792 Scere 13% 4. leypgth, 19 We oreo 


A sturdy ox- te e animal rafffer a tawny 
white, the other a full, deep red, have hauled a 
heavily loaded cart over a crest of a road along the 
side of a hill and are starting on the decline, pass- 
ing across the picture toward the right. The — 
road is narrow and the pitch steep, and their 
driver, an elderly man in a blue jacket, stooped but 
rugged, has gone to their head and steps cautious- 
ly beside them. The hill, in the background, shows 
red earth in the cut made for the road; its top is_ 
verdure-clad against a dark and heavy sky. 


Signed at the lower left, H. Ziigel, Miinchen (Munich), 


No. 52 


GEORGE H. BOUGHTON, N. A. 
AMERICAN, 1834-1905 
GODSPEED pe | tg 


Height, 16 inches; width, 20 inches. 


al 


In was misty blue moonlight, feccah which the 


lights of a steep- -roofed house on the opposite side 


of the street shine in dim and yellow glow, a travel- 
ler on horseback is seen in front of an inn in the 
right foreground. The night is cold and the air 
filled with snow, which thatches roofs and cornices 
and carpets the ground, well tracked by traffic. 
The rider wears his greatcoat, but the stout land- 
lady and her buxom daughter who have come out to 
see him set off on his way make little of the cold. 
The younger has carried his stirrup cup, and pats 
his mount’s flank as she chats while he drinks the 
ruby liquid. There is an unusual quality in the 
snowy winter moonlight, modified by the cross- 


lights from the inn. 


ite eae 


: No. 53 


4,72 HENDRIK WILLEM MESDAG 
“as GERMAN, 1831- 


MARINE 


as Height, 18 inches; width, 15 inches. ; | 
O34 we apt ey Vahl hane 
A painting of rich quality in the faithful yet ¥ 
poetic rendering of the water in a rough sea on a 
windy day. ‘The waves are coming toward the 
spectator at a slight slant, and among them sey- 
eral fishing boats are plowing along at their vo- 
cation, with slackened sail, as they do not need all 
of the wind. ‘The one in the foreground adds color 
to the picture with her bright yellow mainsail. 
The sky is dark and windy but not threatening; 
more sail are seen in the misty distance, and gulls 
are keeping the fishers company. It is an unusual 
Mesdag, infinitely ahead of his unctuous platitudes 
of which so many are seen. Indeed, Mr. Chase, at 
first, could scarcely believe it a Mesdag, for this 
reason. . 
Signed at the lower left, H. W. Mesdag. 


No. 54 


T. COSSAAR 


ENGLISH 


CHURCH INTERIOR 


/ 3 d ee Height, 20 ee (that Dey 
A good painting of the interior of a large, Ol : 
World church, with broad Norman arches and 
huge, round, stone pillars; the walls gray, the 
chairs and woodwork of reddish-brown, and an 
elaborate mosaic floor. A shaft of light throws 
the arches at the left into brightness, against a 
sombre distance obscured as by the fumes of in- 
cense. ‘Two visitors in bright colors are inspecting 
the scene, and Churchmen in black and purple are 
seated or stand in conversation in the middle dis- 


tance. 
Signed at the lower left, T. Cossaar. 


. w —_— 
> 5 [rte E | J 
t a (~ tf A “eS { % 


et tw. ld 
| "Nb. 55 OO 
| ZG, 


THEOPHILE DE BOCK 
putTcH, 1850-1904 


HOUSES AT SCHEVENINGEN oe 


Height, 13 Bhar mbna 20 ance) 


gray symphony, though full of sympathetic 
color. Just a long row of low, Dutch houses ex- 
tending across the canvas, before them a narrow 
road marked by two or three trees, of wispy fol- 
iage, and in the nearer foreground a parallel strip 
of light green grass. The buildings, steep-roofed 
and dormer-windowed, ring the changes of gray, 
their soft tones intermingled with green and ma- 
roon and the red of the roof-tiling. Doors are 
- open, an occasional old woman in her cap is seen 
as an incidental figure amongst the architecture, 
and chickens in the grass accentuate the air of do- 
mesticity which pervades the whole. Back of the 
line of houses that make the picture the land runs 
up hill, and the roofs of other buildings rise in fine 
and broken mass to the church, whose gray spire 
is outlined against a cloud-burdened sky of lighter 


gray. 
Signed at the lower left, Th. de Bock. 


wn 


Le 


Height, 21 inches; tof inches. 


we 


No. 56 


WYATT EATON 
AMERICAN, DECEASED 


LASSITUDE 


A remarkably interesting study, with a fascinat- 
ing quality in the nude flesh, both in the fleeting, 
seemingly evanescent color tones of the pearl and 
ivory surface, and the exquisite modulations of 
form in the supple torse, and graceful physical 
abundance. ‘The young woman has seated _ her- 
self carelessly on a greenish drapery on the floor, 
her crossed legs projecting to her left, and thrown 
her shoulders back against suggested cushions of 
harmonious tone, both arms full extended to share 
in supporting the shoulders, and leaning to her 
right but with head thrown still further backward 
and to the left, in slumbrous relaxation. The light 
falls full upon the figure, but the poise of the head 
puts her face in partial shadow under her auburn 
hair. An admirable study with a strong charm of 
workmanship which leaves the physical beauty un- 


marred. 
Unsigned, but purchased by Mr. Chase from Mrs. Eaton. 


“SS 


i 


CSO 
No. 57 
1} /4— ALSON SKINNER CLARK 


ea. AMERICAN, 1876- — 


WATERTOWN IN WINTER 
yi / 0 22 Height, 16 inches; length, 20 iftches. 


Here the painter has presented a scene over th 
roofs of a typical American city of the small 
class, in the East of the country, in Winter time. 
The roofs are snow-covered, tall chimneys rise 
among them from factory buildings, and from one 
of the lesser chimneys a red flame shoots upward. 
The atmosphere is wet and thick, and a cloud of 
white steam, blown away from the spectator, ob- 
scures a part of the townscape, 


No. 58 


mp On T. COSSAAR 
Soa: 
; ENGLISH 


A HILLSIDE TOWN 


Height, 17 inches; length, 24 inches. 


Sone Wate ae ) 


With the utmost simplicity the artist has got 
an interesting effect of a crowded city on a hill- 
side above a sluggish stream. The houses and other 
buildings are all clustered together, rising in ir- 
regular tiers and a more or less solid mass from the 
foreground stream to the crest of the hill, above 
which the spire of a large church rises against a 
bluish-gray sky touched with pink. Boats lie in 
the river, and on the hither bank a boatman ap- 


proaches the water. 
Signed at the lower left, T. Cossaar. 


a 


ee 


No. 59 


ALFRED PHILIPPE ROLL 


FRENCH, CONTEMPORARY 
A FATHER’S HOPE 


Height, 24 inches; width, 17 inches. 


/ ad = ad. ‘e A Se 


We are asked to examine here an exercise in 
drawing, in the facile medium of pastel, with a 
good deal of quality attained in the color, particu- 
larly in the flesh of the young mother, with nude 


arms and breasts and the nude infant she is nurs- 


ing, and in her reddish hair. She is seated in the 


grass at the edge of a grove. The father, of con- 
siderably more years, is standing close at her side 
and with his other hand grasps the wrists of his 
son, a sturdy boy, who, tired from play, leans his 
head upon his father’s arm. An interesting ex- 
ample of work by the President of the New Salon. 
Signed at the lower left, Roll. 


fia s ON 
i,t = « 


J No. 60 
‘2% EDOUARD MANET 
_ FRENCH, 1833-1883 


G aaa THE OLD BOAT 


Height, 16 inches; length, 25 inches. 


b 2 J, = Fo Os Y axdurkes. 
dory and another heavy small boat are lyin 


on a sloping green and sandy bank, between dark, 
brownish-green buildings, under a gray sky full of — 
movement, with trees here and there, some with 
the sparse foliage of Spring, some with fuller leaf- 
age of a tender green. ‘The boats, perhaps, are 
just out of cover, preparatory to the season’s use. 
But boats, trees nor buildings mattered to Chase, 
nor will they to those given to pursuit of the 
painter attribute in a picture. He only wanted 
that indefinable, subtle charm—does anybody but 
an artist, a connoisseur or a true amateur really 
understand it, or know the true meaning of that 
characteristic or substance of a painting known as 
“quality”? This the picture has in a liberal mea- 
sure, and a painter-like quality worthy of Manet, 
and it is interesting beyond this in the unctuosity 
of its surface, while its vigor appeals not only to 
the painter but to those who like to see sturdy, | 


serviceable boats. 
Signed at the lower left, Manet. 


No. 6 rss 


JEAN FRANCOIS RAFFAELLIO ae 


FRENCH, 1850- 


OUTSKIRTS OF PARIS—SUMMER AFTER- 
NOON | 


ad 21 inches; width, tether. 
IRS eae 


A charming picture of color, brn and go, fur- 
nished by ordinary people and places. In an open 
space that the sunlight and the reflections of trees 
and flowers and bright garments of children have 
made colorful, some little girls and their dog and an 
old woman appear, out for an airing. The bent old 
woman leans down to talk to a tot in red with a 
lilac cap. Before them a typical young French 
girl comes forward with a bewildering play of 
colors in her light dress. ° 

We have elsewhere in this collection a pastel with 
the quality of oil colors. Here is a painting with 
the qualities of a pastel, in the rendering of parts 
of the brilliant foliage and surface growths, and 
the gown of the young girl. 


Signed at the lower left, J. J. Raffaelli. 


No.. 62 


| 2 4 ge CESAR DE COCK. 
ae BELGIAN, 1823- 


THE STREAM 


Height, 18%, inches; length,)25,/, inches. 
aon b, : The 


Under a gray and mottled sky the trees of a 
park are seen, crossing the landscape, against the 
light, a house nestling among them being visible 
through an opening. A building with a thatched 
roof stands in the middle distance, under the shel- 
ter of a projecting line of taller trees. A lush 
green meadow where cattle are pastured separates 
it from the cool stream which crosses the fore- | 
ground, on which the light plays in many varia- 
tions; and standing at a fence, an old white horse 


looks wistfully toward the dwelling. 
Signed at the lower left, César De Cock. 


{ 78 


No. 638 


MARTIN RICO 
SPANISH, 1850-1908 J 


THE ITALIAN COAST 


Height, 16 inches; th, 28 Pe pk. 


ies water of an even ab Ge. -blue comes in 
from the vast open distance at the left, around a 
far point, and sweeps to the right along a sloping, 
wooded and thickly settled shore. In the fore- 
ground of sandy hillocks and grass-grown low- 
lands streaked with small, vagrant water courses, 
boats of various colors and sizes have been hauled 
out. On some, men are working, and all about chil- 
dren are playing. White sails dot the blue waters 
of the sea, dipping but slightly in the gentle Sum- 


mer breeze. 
Signed at the lower left, Rico. 


No. 64 Mpg hee Coeg 
ALFRED STEVENS 


bo DuTCcH, 1828-1906 


HEAD OF A BRITTANY GIRL 


Height, 273, inches; width, 1934 inches. 
RA) ==. Tee 

A young woman of oval face, brown hair, dark 
eyes and light, even complexion, is seen in head 
and shoulders facing full front, but not looking at 
the spectator. She wears a black cape with a 
straight collar of the same material, tied tightly 
at the throat with ribbon, and a white lace out- 
door cap trimmed with pink bows. Her right 
hand, raised from the elbow, holds a tall bouquet 
of garden flowers against her left shoulder, the 
flowers rising as high as her head. Background 
of sea and sail, and a gray, clouded sky. | 


Signed at the upper left, A. Stevens. 


Ts 0° (ge 
“ate 


No. 65 


CHARLIER FAUST GIUSTO 


yall 


4 
oe AN ORIENTAL 


Height, 24 inches; width, “0 hes. 


ITALIAN 


L [3 | 
The strong face of an Eastern woman, 
straight nose, dark eyes and hair and a small 
mouth, but with full red lips. She is seen in head © 
and shoulders, face turned to her right, her hair 
unconfined and loosely framing her features. A 
bit of red at her throat is more intense than the 
color of her lips, but her apparel otherwise is rich 
in dark tones and hangs loosely from her shoul- 
ders. The face is in warm tones and the eyes, 
averted, are not lustrous, but they are intense. 
The background is spotted with bright colors as 
of briliant hangings, amid which the dark type 
of the girl finds a proper place. The canvas pre- 
sents a mixture of quality in low tones, with high 
color, as occasionally Mr. Chase himself has done 


in his pictures. 
Signed at the lower right, Faust Giusto. 


No. 66 
ADOLPHE MONTICELLI 
FRENCH, 1824-1886 ee 
AUTUMN LANDSCAPE Le 
Height, 271, Sidhe width, 20 inches. 


(Panel) | ? 
a FO, Van 
An unique landscape composition of imagina- 
tive quality. In the foreground is a ravine or the 
partly dry bed of a shallow stream, which seems 
to wander irregularly, coming from under an 
arched bridge in the middle distance. The banks 
rise somewhat abruptly at either side, that at the 
right being capped with tall trees, which rise out 
of the picture, the left bank with lesser and more 
distant trees. The light, coming from the left, 
_ falls on the brown and green and yellow foliage, 
and the greensward of a part of the ravine, and 
illumines at the left several figures who have as- 
sembled just outside the wood. High at the left 
appears a patch of sky. that has taken the hue 
of the washed turquoise. | 
The painting is vastly different from this art- 
ist’s riotous figure compositions, but it has Monti- 
celli written all over it. 


ine 


4 


No. 67 
n Oo. W. L. BRUCKMAN 
ae DUTCH, CONTEMPORARY 


AMSTERDAM 


Height, 19 inches; length, 31 inches. 


(20% 


We see in an irregular line extending across 
the canvas in the rear of a jumble of dwellings and 
business buildings the tumbledown bulkhead of a> 
partly neglected portion of a seaport town. The 
houses have the Old World colors, and varied 
roofs which rise against a gray sky. Some figures 
are seen near the stringpiece at the left. In the 
foreground, below, a boy is poling a heavy row- 
boat, and a man in another rowboat has gone 
alongside a laden, single-masted freighter, with 
lateen sail, which has just gone to dock and is 


lowering canvas. 


Signed at the lower right, W. L. Bruckman, 


GEORGES MICHEL 1152 
FRENCH, 1763-1843 


OVER THE GREAT MOORS 
v y 3 Height, 2034 inches ; length, 32 ead ry, 
cart OS a 


A velvet landscape in a symphony of golden 


browns relieved by green, under a gray sky, with 
a moist and misty distance. The canvas deploys 
a far range of the English moorlands, the hills 
and valleys plentifully wooded, but with cleared 
and cultivated fields to be seen also. In the middle 
distance at the foot of a foreground hill a con- 
cealed village nestles, betokened by a church 
steeple rising among the boughs. 


No. 69 


JULIEN LE BLANT 


ee é FRENCH, 1851- 


THE POT HUNTER 
Height, 28°34 inches; width, 2234 inches. 


(Hance 


AS oe ry L Varrdirl f, 


In the heart of a wood Wi second growth, a 
rugged man of strong face and large features has 
paused where he has overtaken his quarry—some 
small game, which he is thrusting into his game 
pouch. He wears a gray slouch hat, stout leather- 
colored jacket, baggy breeches, and leggings, and 
holds his gun under his arm. 


Signed at the lower right, T. (or J.) Le Blant. 


/ 


( po? 


aay s ; ) Laity o. 70 
y, pln ( A 
EMIL CARLSEN 


AMERICAN, CONTEMPORARY 


THE BIG BLACK KETTLE eT 


; Height, 27 inches; length, 29 inches, 

C/o = ore V 
Quality, quality, nothing but quality —a 
painter’s picture—which they, always, must be 
only thankful to enjoy who have learned how to 
let the subtle appeal of such still life surface stir 
their emotions into placid pleasure. In the title 
is the whole picture, yet who but a painter and 
those the painters have taught—or those, more 
fortunate, born with the feeling for these natural 
effects, of which art is the hand-maiden and inter- 
preter to the general—sees unaided the soft charm 
and allure of this dull lustre of metal? For em- 
phasis, contrast and relief, there is depicted near 
by, on the same table, a blue-and-white pitcher and 
other occasional objects, the pitcher rendered with 
the same sympathetic and appreciative sense of 

quality and form. 

Signed at the lower right, Emil Carlsen, 1902. 


No. 71 
W. L. BRUCKMAN 


DUTCH, CONTEMPORARY 


34 Q A VILLAGE ON THE CLIFFS 


Height, 24 inches; length, 33 inches. 


Tae 
7 fe (2 (2 | L tctenks 


A group of houses with Caste tir roof lines 
crown the high, grass- -covered cliff of a European 
coast, their roofs brown and blue and yellow under 
a sky wholly overspread by light gray clouds. 
Against the steep face of the cliff is to be seen the 
beginning of a ship, and workmen busily engaged 
setting her ribs, while others are at work upon a 
ways alongside. ‘These lead down to the fore- 
ground, where the marsh grass of the water’s edge 
is seen, with pools setting in amongst it. Over 
a grassy mound of the cliff at the left of the 
houses a flock of birds in flight appear against 
the sky. 

A pastel with the qualities of an oil painting. 


Signed at the lower right, W. L. Bruckman. 


No. 72 
H. VON LE SUIRE AS ‘ 


SPRING LANDSCAPE —“VORFRUHLING” 


Height, 291%, inches; fangth, 371, inches. “ 


oa, fresh and fetching vias landscape, with the 
joy of the season in its vernal atmosphere and deli- 
cate yet abounding color. A broad stream winds 
between lush green banks, its waters a brilliant 
mirror for the blue skies, the white cloud billows, 
the grasses of the shores and the blossoms and 
tender foliage of the fledgling trees. In the fore- 
ground ducks are at home in their element, and 
the distance is misty with the lure of the early 


year. ; 
Signed at the lower right, H. von Le Suire, 1899. 
Vorfrihling. 


a ff 
y te & test"; 
iw, U C Pye j 


No. 73 


LOUIS METTLING 


eae FRENCH, 1847- 


STILL LIFE—FRUIT 


S Height, 2534 ee f (Petr 
be 


An excellent still life of very positive quality, 
not assertive, but so secure, serene and established 
in its dignity, substance and wealth of color, that — 
it carries the air of authority. ‘The fruit—apples, 
handsome and ruddy, grapes, a melon and other— 
whether in basket, dish, or lying loose on the 
table, is presented with a truth that has sacrificed 
nothing of the beautiful in color or composition ; 
and the texture, notably that of the chipped blue- 
and-white porcelain bowl, which holds some of the 
apples, and the glow of a green hock glass back of 
it, are remarkably rendered. ‘The background is 
laid in a dull, rich, neutral tone of brown, into 
which the distant objects melt or merge, while the 
light falls full upon the blue and white dish and 
the fruits nearest it. 

Signed at the lower left, L. Mettling. 


MYRON BARLOW 24 22 

| f , 

AMERICAN, 1873- 
CONFIDENCES 


Height, 321%, inches; length, 27 pias 
ash 


: Hg cderlad 


Three peasant girls have Biles eens a table 
in a cottage room to exchange confidences and 
the gossip of the hour. Their costume is uniform— 
dark waist, white cap and rich, dull red and very 
full skirt—but the facial type varies. The girl 

at the right has risen from her chair and leans 
across the table, on which half her length is 
extended as she rests on her elbows to get her 
head closer to a companion. All are very serious 
over the import of the bit of gossip. A genre com- 
position of a quiet, restful and attractive quality, 


interestingly worked out. 


No. 75 


J. FRANK CURRIER 


AMERICAN (DECEASED ) 


TUMULTUOUS CLOUDS 


Height, 24 inches; 3 361% 4 

[apse bal etre 

ho has not been wn J the majesty of 
tumultuous clouds, as shown in this picture, when 
aerial forces appear to be in powerful play, under 
sharp contrasts of light and shadow, with winds 
aloft and alow? ‘The blue of the heavens is all 
but hidden by the rushing clouds, which are black 
and ominous far at the right, and whitened by 
the sun toward the left, where their motion is still 
more impressively evident. The landscape of the 
distance is in dark silhouette against the sky, 
which near the horizon has a yellow glow, and the 
foreground is one broad, rolling expanse of lush 


green meadow. 


No. 76 
JAMES WILSON MORRICE 


FRENCH 


LA COMMUNIANTE 


ik 30 co Height, 32 inches; ae 46 aa 

A typical broad street or place of a French city 
is presented, the smooth roadway at the left and 
broad sidewalk at the right both spotted with 
sunlight amid the partial shadows of the trees 
and buildings. In the central foreground the little 
communicant, a small girl in her white dress and 
veil, whose round face is a juvenile repetition of 
her fat mother’s, comes toward the spectator a 
step in advance of the mother, who has paused for 
a word with a red-haired maid carrying a market 
basket. In the background at both sides of the 
street are suggested the red-awninged terraces 


of cafés. . 
Signed at the lower right, J. W. Morrice. 


No. 77 


HENRY S. HUBBELL 


AMERICAN, CONTEMPORARY 


A POET (MONTMARTRE TYPE) 2568 hes, 


Height, 511% inches; width, 381, inches 


ve& 


One of the low-toned portraits which Mr. Chase 


and many others like above those brilliant and 


colorful ones that show sometimes more dash than 


painting. A man in the prime of life and of a 


type to be found perennially in Paris, of clean-cut 
features, but rather dreamy expression, bearded 
and wearing a soft, wide-brimmed hat, is seated 
ata white-topped café table. His partly emptied 
absinthe glass is before him and he is leaning 
dreamily on one elbow, hand at mouth, the other 
hand holding a cigarette carelessly at his side. 
He wears a rolling collar and flowing cravat. The 
writing materials of the café lie in front of him 
on the table, and he has allowed his newspaper to 
fall across his knee. There is a good deal of mod- 
elling and warm color in the features and the 
hands; the rest is kept simple, tending (as ever 
in the canvases appealing to Mr. Chase, however 
catholic his appreciation) toward quality in the 
painting. 

Signed at the lower right, Henry S. Hubbell. 


ger Al Gun 
f yreh eg oh cl 


_/No. m3 | 


\| 
J. FORAIN 


8) FRENCH 


ons 
eo A PATIENT FISHERMAN 


; Height, 57 inches; length, 57 inches. 
3 hh—= Ve : 
At the far end of a heavy plank projecting well 
out over over a river—doubtless the Seine—from 
the stone bulkhead of the quay, a short, stocky 
Frenchman sits, high above the water, his feet 
dangling, steadying himself with one hand and 
with the other holding in sensitive grasp his fish- 
ing-rod and line. His patient, alert dog, almost 
as amusing as his master, squats near by. 

The fisherman is silk-hatted and wears a purple 


tie, yellow waistcoat and gray trousers. ‘The sun 


has gone below the horizon, and the warm sunset 
colors of the clouds are reflected in the smooth cur- 
rent, with shadows of the farther green bank of 
the stream, whose buildings are becoming obscured 
in the deepening dusk. Still the fisher sits and fishes, 
oblivious—a typical French habit; one can see it 


day in and day out in Paris itself. ‘To a painter, 
Forain has here attained a lovely quality in the 


gray water, and the distance suggested between it 
and the Gallic Walton. 
Signed at the lower left, Forain, (with a date). 


— af — a ee ee 


SECOND EVENING’S SALE 
FRIDAY, MARCH 8, 1912 
IN THE GRAND BALLROOM OF 


THE PLAZA 


FirtH AVENUE, 58TH TO 59TH STREETS © 


BEGINNING AT 8 O’ CLOCK 


No. 79 
MARTIN RICO 22.0 
ee cer ere 
SPANISH, 1850-1908 — 


ITALIAN CYPRESS TREES 


Height, 8 inches; length, 51% le 


gu J} 
pean ee OY p). 
A small but picturesque landscape, deftly 
painted, with a quality often absent from Rico’s 


work, and little resembling his store pictures. 
The cypress trees, tall green cones, rise near the 
spectator against a hill that in the distance, be- 
yond some houses, has taken a violet tone, the 
apexes of the cones mounting like spires toward a 
sky of the faintest blue, and the foliage having a 
velvety aspect. 


Se 6 a ee 
va” “—_—— sy 
pe es 


No. 80 


W. GEDNEY BUNCE 
AMERICAN, 1840- 
4, 0 
e (2 ~-— VENETIAN BOATS 
Height, 7 inches; width, 10 inches. 


266 = 


A colorful, impressionistic sketch of rich, | 


cious tone, picturing imaginatively a neighborhood 
of Venice. Lights and colors are confused in 
water and sky, blending in many gradations of 
red, blue and brown. In the left foreground tall- 
masted boats raise their colored sails toward the 
sky, which seems in patches to be rosy in sympa- 
thetic hue. Beyond, in the distance, other sailing 


boats are indicated in vaporous mists. 


5 +t 


No. 81 


- J. H. TWACHTMAN 


- 
AMERICAN, 1853-1902 \ (dg 
BOATS 
Height, 414 inches; length, 8 inches. 


nop oe (Panel) : es 


A small sketch, on a panel, of boats and water 
and a lane with growing things on it, and some- 
thing like dock or pier construction work, but 

which resolves itself not into any material ele- 
ments, but into an ensemble of color—a chromatic 
titbit for the sensitive eye; a painter’s flight, in 
which he was prodigal of quality for his own 
amusement or professional satisfaction, _ 


No. 82 


GEORGE INNESS 
AMERICAN, 1825-1894 


a 


yp 
5 


LANDSCAPE 


Height, 8% inches; length, 734 inches. 


Cee 


An Inness that woul have met the demands 
of the tonalists; but it is better—it is an Inness. 
A vivid impression of a windy day, when the 
sky was boisterous with swirling cloud masses of 
grayish-white—some near the horizon just tinged 
with a faint rose. Against the sky a leaning 
tree on the border of a copse; a calf sheltered 
there, and for the rest, merely the browns and 
greens of a moorland, a half-wild acre, but with — 
an indefinable quality running through it all that 


sounds Nature’s notes of music in the fields. 


Signed at the lower right, G. Inness. 7 


From the sale of J. Scott Hartley, Mr. Inness’s son-in-law. 


EUGENE FROMENTIN 


ae 1820-1876 


MOONLIGHT— ARAB ENCAMPMENT 


Height, 534, inches; length, 4 inches. 


, i a oe 


A’ painting with the ever-en cing VE) of 


moonlight, with dim suggestions of mysterious 
Arabs in the shadow of their tent. The moon 
is full and the white orb is seen half way up the 
blue sky, having risen above the grayish horizon 
clouds. No tree nor permanent habitation is 
visible in the flat, deserted country, but in the 
foreground the Arab has pitched his tent and 
built a campfire, and the forms of men and ani- 
mals on the ground are rather hinted at than 


perceptible. . : 
; Signed at the lower right, Hug. Fromentin. 


No. 84 


ALFONS SPRING 


GERMAN 


] | 9 _ GIRL WITH JUG 


Height, 10 inches; length, 6 ele, 


lg 


A sturdy peasant girl ee heavy ace an 
chin, with color in her cheeks, is shown a full 
length, standing, and seen in profile. She wears 
a black bodice with white sleeves rolled up to 
the elbow, and a pink skirt of peculiar color | 
quality, against which she is holding a gray stone 
jug. In the effect of the lights in the colors of 4 
the skirt and jug and on the girl’s heavy, bare 
arm, one may see the attraction to the painter in 


this sketchy yet solid professional note. 


Ly) 


No. 85 


ALFRED STEVENS 


BELGIAN, 1828-1906 


5 Q HEAD OF A YOUNG WOMAN 


Height, 83% inches; width, 6%, inches. 


pies (On Maia  — 

Spd mas ie Qb % 
A sketchy portrait of a young woman Aé¢at | 

in a high, round-backed armchair upholstered in 


red. She faces the right, turned three-quarters © 
toward the spectator, at whom she looks directly 


and smiles. Her hair, partly fallen loose over _— gy 


her high forehead, is for the rest dressed in an 
elaborate mound high on top of her head. She 
appears in a low corsage with a light, filmy 
shoulder-covering of white with some black and 
red embroidery. 


Signed half way up at the right with monogram, A. 8. 


L5t 


No. 86 


 WILLEM MARIS 
DUTCH, 1844-1910 
IN HOLLAND 


- Height, 5%/, inches; length, 12% inches. * 
Lig * Ye. Mo. BS. 

In a broad, level field, rich with moist, luscious 
grass, a herd of cows are grazing. The field 
extends across the canvas, interrupted in the left 
foreground by a bunch of tall weeds, which seem 
to mark the boundary of a pond. The cows, near — 
by, black and white and red and white, are feed- 
ing in various attitudes. Beyond the field are 
seen the buildings of the neighboring hamlet, and 
the whole is bounded by a slightly higher, tree- 


covered stretch of land under a low horizon of 


even, gray clouds. 
Signed at the lower right, W. Maris. 


No. 87 


STANISLAS LEPINE 
FRENCH, 1836-1892 ; 
42_' | 
LANDSCAPE oo — 


Height, 5 inches; length, 121% inches. 


(Panel 
AIO — w, 


This sketch on a panel, ft ee iemall and 
comprehensive, has the attraction W 

and suggestion, with little of detail. The fore- 
ground is taken up with a bight of water, whose 


simplicity 


surface is gray and white with the reflections of 
the billowy clouds which are seen in the distance, 
beyond the lowland that borders the small bay. 
Houses and factories are built on this low strip of 
the middle distance, and beyond them afar off is 

a line of blue hills. 
Signed at the lower right, S. Lépine. 


9 ae 
; SE No. 88 
ANTOINE VOLLON 
FRENCH, 1833-1900 
4 + inet el nee 


oy fee Height, 81, inches; length, 101% inches. 


if’ séems, ye charged 
A lovely 


sky, whose abundant white curtain cannot sup- 


Little more than a sketch 


with the essentials of a complete pictur 


press the clear blue beyond, looks down upon a 
waterside town, whose buildings are silhouetted 
against it. They are full of color, and their 
irregular mass has strong and suggestive attrac- 
tion. In the foreground an arm of the sea shows 
subdued reflections of the buildings and sky, with 
peasant women on the nearer bank and at the 
right sailboats hauled out on the sands, awaiting 
the next high tide. Small in dimensions, the 
painting is big in all else; a picture of rare quality. 


Signed at the lower right, A. Vollon. 


ito 


No. 89 


ANTONIO MANCINI 


<2 ITALIAN, CONTEMPORARY 


ime BOY 
eee | 
7 Height, 1134 inches; length, 71% inches. Q 
ot Oman ae 


A panel sketch of attractive quality and low 
tones. A small Italian boy of agreeable face is 
seated on the ground, facing the right, his legs 
bent at the knees, bringing his feet in their clumsy 
shoes into the foreground. His face is seen in 
profile under his dark, tousled hair. He wears 
a loose white shirt, open at the neck, and black 
trousers. It is such a long way from some small 
Italian boys we have seen painted, here—fre- 
quently painted, here—that it makes one forget 
them and restores confidence in the race. A stun- 


ning bit of painting. 


Bae 
a 


A3s8 


No. 90 


FRANS COURTENS 


BELGIAN, 1853- 


< 
Bi LANDSCAPE — TREES AND YELLOW 
LEAVES 


Height, 7 inches; length, 12 fine 
— 


A painting of sunshine falling upon yello 
leaves and green grass and pink and yello 
flowers. The scene is in a landscape wooded, but 
with open spaces where the grass is green, and | 
others where flowers spring up. In the fore- 
ground trunks of trees are seen against the light, 
which beyond them brightens a sloping bank and 
nearer by casts shadows over and around the 


waters of a pool amid the flowers. 


Signed at the lower left, Frans Courtens. 


IS 


f 
ec’ © 


j No. 91 


EMILE LAMBINET 
FRENCH, 1815-1878 
LANDSCAPE a : Ze 


le 


or el. oe 


‘Under a fair sky of light blue, and plentiful 


| white clouds, appears a heavily wooded French 


Height, 73% inches; length, 13 inches. 


(Panel) 


landscape, with a clearing in the foreground 
which separates a buff-gray cottage with red 
thatched roof from a stream that borders the 
woodland. All is in the full, abundant growth 
of Summer, the grass a lush green, the foliage 
of the rounded tree tops rising in varied tones 
against the bright and cheerful sky. In the 
prodigality of the well-watered soil the brook 
itself is overgrown with tall rushes, save for an 
open, partly cleared pool, where a_ peasant 
squatted on the bank in the left foreground is 
fishing. | : 

Signed at the lower left, Lambinet. 


Let 


No. 92 


ANTOINE VOLLON 
= oS | | FRENCH, 1833-1900 
a“ FISH 


Height, 9 inches; HA 127% inches. 


TET te Gee. 
It would be difficult to believe without seeing it © 
that so much of attraction, of charm, could be 
put into so simple a painting of two fish. They 
lie on a table as though fresh from the water, one 
with its back to the spectator, the other reversed 
and posed partly over the first one, its silver 
underbody yielding the high light and being 
partly reflected along the first one’s glistening 
brown back. Realism is carried into the poetical, 
but above all here is painting, the simple, allining 
brush-work of a master. 


Signed at the lower left, A, Vollon, 


Fae ae 


No. 93 


ADOLPHE MONTICELLI 
FRENCH, 1824-1886 
THREE GIRLS 


Height, 121%, inches; length, 8 inches. 


foo * 


In this picture botl{/the figures and faces are 


developed a little farther than is customary with 
the artist, and each and all are made highly ex- 
pressive. And with this clearer definition of per- 
sonal expression and emotion the painter has 
given a wonderfully rich and colorful picture. 
The three girls are seen against a wood back- 
ground of blue depths, the overhanging leaves 
above their heads being yellow and green and 
sharing in the light which falls full upon the girls 
themselves. ‘The costumes are rich in golden 
yellow and many colors. One girl, seated, is ad- 
miring a bracelet, while the others, looking on, 
share her interest in the jewelry. 

Signed at the lower right, Monticelli. 
From the William Burrall Collection, Glasgow. 


No. 94 
ALBERT MOORE 


ENGLISH, 1840-1892 [oe A a 


COURTSHIP 


Berets 12 inches; width, 10. inches. 


asa = 
A young woman with reddish es hich falls 


down her back, and wearing a white gown with 
sloping shoulders and bell skirt, stands at the 
border of a wood, placing a newly plucked flower 
within her belt. She looks down at a brown-haired 
man in careless attire, who is lying at her feet in 
the grass, his back toward the spectator, among 
white and red flowers which are growing there in 
profusion. Taller flowers are blossoming in the 
sun in front of the line of the wood. A- pre- 
Raphaelite canvas. 

Signed at the lower right, Albert Moore. 


No. 95 
2 ae AUGUSTIN THEODULE RIBOT 
FRENCH, 1823-1891 at 
HEAD OF A WOMAN 
Height, 118, inches; width, 8 


(pA ae Os 


A portrait of heavy features, but very A 


inches. 


ing—physically expressive—in free b 
and of a quality which captured the artist in Mr. 
Chase; the whole boldly and directly brushed in. 
The subject is a peasant woman, neither young 
nor old, shown head and shoulders, her face in- — 4 
flamed, turned three-quarters to the spectator and | 
looking downward. Her black headdress is 
fastened with a white knot. rs a 
Signed at the lower left, A. Ribot. 7: 


ak 


No. 96 


J. H. TWACHTMAN 
AMERICAN, 1853-1902 — 


é O 
[ ae A VENETIAN CANAL 


a 


Height, 13 inches; width, 9 inches. 


oe : anel)> | : | 
[60 oa : 2 AG y AhAAL 

With the utmost simplicity and the minimum 
of color the artist has pictured a canal leading 
away from the spectator, with a bridge crossing 
it in the middle distance, between tall buildings, 
and a tower beyond it rising toward a pale blue 
sky. Near a stairs at the right a gondola is | 
moored against the wall. 


Signed at the lower left, J. H. Twachtman. 


a 


f bee? 
U | 
No. 97 { , A 


ae 
EMILE VAN MARCKE 4 ; 
FRENCH, 1827-1890 
CATTLE GRAZING G tC 


Height, 134, inches; length, 104 inches. 
Fou Ve b. 2: 
Beyond a pond through whose gray watér the 
rushes push up here and there, a number of cows 
are feeding from the grass along the border of 
a grove and in a field at the right. The field, 
away from the shadow of the trees, becomes yellow 
In the sunlight, and the sky above it has mounds 
of white and gray clouds. Below and between 
them thin veils of the cloud vapor make the rest 
of the sky a very pale blue. Near the cows a 


peasant woman is standing. 


Signed at the lower left, Em. van Marcke. 


fe ° 


No. 98 


ANTOINE VOLLON 
dg FRENCH, 1833-1900 


4 as STILL LIFE 


Height, 91%, inches; length, 12 inches. 

ar i 
A golden canvas with a dark backgrounc 0 

of which seem to come from mysterious: obset 
the brass dish and its neighboring pitcher. Th 
color is stunning in its quality and brilliance, and 
the light from the glowing surface 1S reflected | 
upon the table, making the dish appear almost : as 

a source of light, or self- luminous. . 


Signed at the lower left, A. es 


No. 99 
_ JULES DUPRE 
a pe FRENCH, 1812-1889 


MOONLIGHT LANDSCAPE 


Height, 91% inches; length, 121% inches. 
Age Oa 

The artist has chosen a group of characteristic — 
French cottages and barns in the country as they 
appear in a brilliant moonlight, with none of the — 
blue-green hue which moonlight canvases so often 
exhibit. Here the thatched roofs are mellowed 
and the trees blend their foliage with the tones 
of the roofs, bushes and grasses around them, but 
each is pictured as retaining some of its familiar 
aspect, in hue as in form. The sky is peculiar 
in its contrasts of luminosity and somberness. 


Signed at the lower right, J. D. 


Ryo? 
fi 
ee No. 100 
A. L. BARYE 
FRENCH, 1795-1878 | 
LANDSCAPE he ae 


ae 9 inches; length, 121% inche 


ae (2 
rare ee by the master oy animal sculp- 
ture. Here is just a rugged, rocky hillside, slop- 
ing forward and to the right, but charged with 


atmosphere and the feeling of the sterner pic- 


turesque. The rocks, gray, brown or red, and 
purple and green, are scattered in tumbled and 
broken masses over the face of the hillside. 
Among them, in the foreground, ferns are growing, it 
and at the crest of the hill low bushes, touched {| 
with Autumn color, raise their modest branches I 
before a dull, gray sky. On a sunlit path up the 
slope, among the rocks, a stag lies, resting but 
alert, clear of the boulders. 

Is it fancy that with half-closed eyes sees 
amid the rocky outlines suggestions of animal 
forms, or was Barye possibly unconsciously 
guided in that direction in his painting? 

Signed at the lower left, Barye. 


pies 
VE 


No. 101 


ANTON MAUVE 
putTcH, 1838-1888 


2 4 
uf GIRL KNITTING 


ye oo re tne 15, es idth, a ae 


A Dutch peasant girl *e hone stolid features 


and type, stands before a mass of green vines and 
bushes, knitting or mending a long, reddish-brown 
stocking. She is in the sunlight, facing the spec- 
tator, her bare feet thrust into clumsy sabots. 
There are many variations in the green tones of 
— the leafage, in the sunlight and the shaded inter- 
stices of the leaves, and the artist has been at- 
tracted by the problem they presented against 
a deep blue sky, with the figure, though promi- 
nent, yet a foil for the color study. The figure 
nevertheless is easily done, comfortably posed, 


and solidly rendered in quiet tones. 


Signed at the lower left, A. M. 


pe 
No. 102 


LOUIS, METTLING / > dio Tad 


FRENCH, 1847- 


THE POTTERY MERCHANT 


Height, 121, inches; length, 16 inches. 
/ eek es UW. Wwe VATE E ne 
A rapid, colorful fahd effective sketch of a 
crude, open-air market place, with various figures, 
buildings and features of the landscape sug- 
gested, but only the central figure carried far— 
that of a peasant woman seated in the midst of a 
group of pottery jars. Her smooth black hair 
is bound to her head with a white kerchief, and 
she sits facing the spectator, holding in her lap a 
reddish-brown earthenware jar, with other pot- 
teries about her feet. 
Signed at the lower left, L. Mettling. 


No. 103° 


“\). BERNARDUS JOHANNES 
- BLOMMERS 


puTCH, 1845- 
CHILDREN PLAYING ON THE SEASHORE 
Height, 12 inches; length, 15 inches. 


(Water Se 


43g > teats 


The blue sea fills the picture from a high hori- 
zon, which leaves but a strip of light gray sky 
visible, to the middle distance, where it rises in © 
gentle breakers that roll toward the spectator — 
and dissipate themselves in rippling lines of foam 
on a flat, sandy beach. Here a solemn infant in 
a blue dress and broad-brimmed straw hat is 
seated, watching two older children in red, blue 
and gray garments, who are wading in the wave- 
lets that have come farther up the beach in the 
immediate right foreground. 

3 Signed at the lower right, Blommers. 


Loe. Sd 


No. 104 


LOUIS EUGENE BOUDIN 


d- 
Be 
| FRENCH, 1824-1898 


THE BATHING HOUR 


Height, 9 inches; length, 15% inches, q 
GO = ib i. Tha 

A vague but effective sketch of a bathing resort 4 
at the seashore, with a crowd of people at the 
beach and a marvelous sky. The sky’s indefinite 
tint, *twixt green and blue, seems to have spell- 
bound the artist, who has painted it faithfully 
and vigorously. Against it, over the green 
water, he has pictured various white sails in the 
distance, the scope of vision being interrupted by 
white bathing houses on the sandy shore of the 
foreground. ‘The figures here are merely sug- 
gested, but in color and attitude they reflect 
tellingly the Summer resort life. 


; OT Re ¥" “ a 
4 vo = 
= 7 


ye pic 


Py 2 E 
y "a No. 105 
Best ALFRED STEVENS 


BELGIAN, 1828-1906 


_ A DAYLIGHT MOON Moo 
Height, 13% inches; width, 10% inches. 


(Panel) ~ : | nee 

Big ee FS lithic Lek - 
A canvas of peculiar fascination and a curious 
brilianey, though puzzling. It is full daylight, 
_ yet the crescent moon is a pale yellow and the 
tips of the low horizon clouds are taking on a 
sympathetic color tone before sunset. ‘The sky 
aloft is a beautiful cerulean, with the faintest of 
vaporous veils before it, and the water is a pale 
turquoise with deepening tones near the shores. 
~The beholder looks upon a bay bounded in the 
right middle distance by a sloping point of land 
dotted with red-roofed cottages, its summit green. 
In the immediate foreground a bit of shore with 
weed-grown rocks appears, and in the foamy 
water of the gently-breaking waves, well in shore, 
men and women bathers, capped and hatted, in 
voluminous red, blue and black costumes, are seen 
waist high in the water. Off shore is a white sloop 
and in the distance are other sail and a steamer 


putting to sea. 


: Oe i 


No. 106 


FRANCOIS SAINT BONVIN 
FRENCH, 1817-1888 
LA BRODEUSE a 
: Peete. 1614 inches; width, 1234 inches. 6 e a 
pe a sere and bare room, with low wainscoting _ 4 


and gray walls, with the light falling from over- 


head at the left, a young woman is working at her 


_ embroidery over a low stretcher. She is clad in 


a simple olive gown, with a broad white collar; her 


hair is bound in a narrow red ribbon, and she 
wears a black apron. She is seated facing the 
left, her colors at her hand, looking intently at 
her work, her fingers seemingly just taking the 
next, stitch—the embodiment of patience and 


industry. 
Signed at the upper right, F, Bonvin, 1857. 


No. 107 


FERDINAND VICTOR LEON 
ROYBET 


FRENCH, 1840-— 


ies HEAD OF A YOUNG MAN 


Bagh, 13% inches; ee 10%, 
re Ee Bs eS ST 


A sturdy youth of oa complacent, yet de- 
termined features, is pictured half-length, stand- 
ing facing to the right, his head turned front 
and eyes gazing quietly at the ground. The bold 
forehead is strongly modeled, all the features are 
large and full, and the skin is of hardy color. He 
wears a dark, belted jacket, and a broad, square 

lace collar, loosely fastened at the throat. A quiet, 
serious painting, not at all resembling the artist’s 


brilliant, popular, shoppy cavaliers. 


>. Vaan etna 


lo 


No. 108 


JOSE VILLEGAS 
SPANISH, 1848- 


THE GUARD 
Height, 16 inches; width, 10 inches. 


/ Water Color 

psd = ey d RL 

Standing before a ee pillar in which ys 
blue tones prevail, a Spanish halberdier facing to 
the left turns and looks full front, as he leans 
against the column, one foot carelessly crossed 
over the other. His right hand extended from 
his shoulder clasps the staff of his pike, as its 
handle end rests on the floor. He wears a buff 
leathern corselet and carries much color in his 


apparel. 
Signed at the lower right, Villegas. 


9 : ‘ ah oo a 


sesy o]g0 


ee a < : — -ARK~xR 


_No. 109 


LUCIEN ALPHONSE GROS 


GERMAN, 1845- 


(J THE SLEEPING SOLDIER 


ae Height, 1034 inches; length, 1414 inches. a 
St tf) Li? 


Just outside a wooden ho Y ore; a heavy /? a 


stone foundation wall—possibly of an inn—a big 


man in drab breeches and buff coat with slashed 
sleeves, which reveal blue silk, has thrown himself 
at full length on the ground, his green cloak 
doubled under him for mattress and pillow, to 
sleep off the effects of too copious potations. His 
broad hat has been pulled down over his face to — 


screen his eyes from the sun, without concealing 


his strong features. Arms and hands are relaxed 
in the heavy slumber, and a broken loaf of bread 
and an overturned gourd lie beside him where they 


fell. 
. Signed at the lower left, L. Gros, 1882. 


No. 110 


FERDINAND VICTOR LEON 
ROYBET 


FRENCH, 1840- 


THE YOUNG MUSICIAN 


Height, 16 inches; width, 1234 inches. 
Soo = (3 Wea 
One of Roybet’s early works and a delightful 


portrait, not one of his familiar shop pictures. 
A serious young man of agreeable features is 
‘shown in head and shoulders against a dark green 
background, thoughtfully studying a roll of music 
which he steadies with an easily drawn and mod- 
eled hand. He has full lips and red cheeks. His 
eyes are directed downward and the expression 
of the face is one of quiet purpose. He wears 
a reddish-brown cloak, a white scarf loosely tied 
under a white collar, and a low hat with a flat, 
rolling brim. The portrait, though of a boy, has 
an air of distinction as a painting; the pigment 
has aged in mellow tones, and the whole has a 
quality which appeals to the painter and the pic- 


ture-lover alike. 
Signed at the upper right, F. Roybet. 


No. 111 
Se ANTOINE VOLLON 
Lf be re FRENCH, 1833-1900 
| LANDSCAPE 


se 


Height, 13 inches; length, inche, p 
“so = loath 9 

A green and grass- ee bank slopes dowy/ 
from the right, its top and slope supporting trees 
with massy foliage, which shelter dwellings and 
outbuildings, to a river. At the foot of the bank, 
where the brown earth is undercut below the green’ 
herbage, a punt is moored in the gray-white — 
stream, and figures in red and black costume are 
perceived along the shore line, which in the middle 
distance swings to the left. There it changes 
from the verdant surroundings of a residential 
section to a business quarter, with warehouses and 
distant spires, under a light blue sky, with occa- 
sional drifting bunches of grayish clouds. Pos- 
sibly the city is Antwerp. 


Signed at the lower right, A. Vollon. 


Pe 


ANTOINE VOLLON 


FRENCH, 1833-1900 ya 
FISH IN THE MARKET ne ag 


Height, 12% ay 181% inehigs. 


Sus £5 Own1~_ 
A mess of fish are lying on a bed of reeds on 


a table of an indistinguishable market place, just 
as they have been dumped out of the fisher’s 
basket, which stands beside them. ‘The blue and 
gray bodies are still supple, though inert, the 
white bellies, with their light reflections presenting 
the only bright spots in a canvas of low, rich, unc- 
tuous tones. 

One may see in this canvas some measure of the 
inspiration which, working through the owner of 
this collection, has produced what are in no sense 
imitations, but equally distinguished presentations 
of humble but fascinating piscatorial motives. 


Signed at the lower right, A. Vollon. 


No. 118 
2790 ALEXANDRE CALAME 
ge swiss, 1810-1864 


LANDSCAPE 


Height, 104, inches; length, 15 inches. — . 
TS ga 4 frst Ko. KI AA 
A round-topped hill rises in the center of/ the 
composition, a road and a wandering path wind- 
ing about it. It is thickly grass-grown, and cattle 
are pasturing on either side of it. In the fore- 
ground are lying some rotting trunks of pollarded 
trees that have been cut down, and at the left 
appears the corner of a building. | ) 


Signed at the lower left, Calame. 


OE Ee 
oa. fz to 

d ag 

ya 


| fl? 


No. 114 


ANTON MAUVE Ta 6, 
purcu, 1838-1888 ee 


SHEEP 


eo 
— 


Height, 12 awe 15 inches. by 
“AE ere is a free and rapid sketch, with all the 
life of a sketch and the effect of a finished picture. 
A drove of sheep are massed together, crowding 
one another, but grazing in nibbles the while on 
a level plot in front of a sand bank which rises 
to a grass-crowned hill. Behind the sheep the 
shepherd -boy leans on his staff, and back of him 
on the side of the hill two figures sit, obscured 
in the gathering shadows. 

Signed at the lower Fight. A. M, 


as 


No. 115 


FLORENT WILLEMS 
BELGIAN, 1824-1905 


LADY IN WHITE SATIN 


= eight, 151%, inches); width, 1184 inches. 
HE U0 = Se PF AQIUL 


This painting, quite different frdm the general 


character of the collection, is regarded by Mr. - 


Chase as a particularly fine example of the 


painter. In fact, he has said that he knew of no - 
better one. A tall lady is shown standing and £ 
facing to the left, her head turned full to the 4 
spectator and tilted over her left shoulder. Her 2 


eyes are directed toward the floor, where a small 
pet dog, wearing a pink ribbon, is walking on its 
hind legs at her feet. She is clad in a smooth 
and shining white satin gown, with short train 
and loose half-sleeves, with deep, turned-back — 
cuffs and turned-back collar. She stands before 
some elaborate curtains, whose dominant color is 
maroon, with intricate bordering and alternating 
stripes, and is drawing aside one of them, where 
another little dog looks inquiringly through to 
another room. ‘The dress reflects many lights and 
exposes a rich sheen in its pearl-gray hue. 


Signed at the lower right, F. Willems. 


No. 116 


PAUL JOSEPH CONSTANTINE 
GABRIEL 


puTcH, 1828- 


CHILDREN AT THE SHORE 


Height, 13 inches; length, 16 inches. > 
j—_  € G 
Lon ee VO BAe vk ; 


In a. canvas that preserves quality in a high 
key, the artist has depicted an Old World seashore 
landscape full of hfe, brightness and cheer. An 
arm or inlet of the green-blue sea puts in from 
the left, separating the low, sandy beach of the 
foreground from a bit of similar beach in the 
middle distance, back of which the land rises to 
a low bluff, where a group of houses cluster. On 
both beaches and in the inlet children in gaily 
colored dresses, their skirts and_ little breeches 
rolled up for wading, enliven the scene, the whole 
bathed in sunshine under a brilliant blue and 
white sky. 

Signed at the lower right, I (?) Gabriel. 


ie he 


No. 117 


JAMES TISSOT 
FRENCH, 1828-1906 


AT THE WINDOW 


Height, 16 inches; width, 7 inches. 


| (Pa 
A narrow bit of the coher aaa a pan a room is ae 


shown, with a window in each wall, their case- 
ments abutting at the corner. ‘They look out 
upon a bower of trees and flowering vines, all but 
the blossoms of a deep green, and rising so high 
that no sky is seen. One sash is raised and a light 
complexioned, fair-haired young matron of ample 
figure has seated herself on the windowsill to 
enjoy the scene and the air. She leans against 
the corner, facing the spectator, her head turned 
to her left as she gazes out of doors, one jeweled 
hand against her hip. She is clad in black, with 
white lace at her throat, a red bouquet at her 
breast, and she has pulled up an armchair on 
which to rest her feet, one of which discloses a 


robin’s-egg blue stocking. 


pe” : 
pu 


ABBOTT HENDERSON THAYER 


No. 118 


AMERICAN, 1849- s 


_-/, HEAD OF 4 WOMAN ' 


Height, 1634 inches; width, 14 inches. : 
OU 0s VAAL Se 


A serious woman, with character in her feat- J 
ures and lineaments, is shown in head and shoul- : 
ders, facing to the right, her head turned 
three-quarters toward the spectator. The light 
falls full upon her face, with special strength on 
her high, white forehead, from which her brown 
hair is rather primly brushed back, though 
allowed to curl loosely behind the ear.- The 
thoughtful brown eyes are set somewhat deep in 
their sockets, and the thin, pale lips are rather 
tightly compressed, while a gentle color suffuses 
her cheeks. She wears a bluish-green waist and 
a high white collar, concealing the whole of her 
throat. The head is loosely and simply painted, 
in a manner bound to make an appeal to admirers 
of Thayer’s work. 

Signed at the lower right, Abbott H. Thayer. 


a 


—6 


No. 119 


VAN D. PERRINE 


— 


| ( 0) : AMERICAN, CONTEMPORARY _ 
eae THE FLOWER MARKET | IN WINTER, a 
NEW YORK | 


Height, 19 inches; length, 15% inches 
ot O %& or t , 

A complicated mass of buildings, bushes and 
trees, simply painted in the atmosphere of a Win- | q 
ter day. The day is dark, and the distant street 3 
misty in the dull light, but the snow-covered fore- 
ground and market roof brighten the picture, 
which is further enlivened by touches of blue and 
red in the carts and the blankets of the horses at 
the curb. Elsewhere the tones are low and dull, 
in keeping with the sombre day. 7 


Inscribed at the lower left, “To W. M. Chase, from Van D. - 
Perrine.” 


fan 


No. 120 


ANTOINE VOLLON 
FRENCH, 1833-1900 
FLOWERS 


¢ 


Height, 1834 inches; width, 141% igghies. 


n an ovoid vase of gray tone and plain sur- 


- 


face a crowded bouquet of simple flowers from 
an old-fashioned garden—red and purple and 
white and pink, and so on—with greens inter- 
spersed—rises to a height greater than that of 
the modest vase and falls gently over the vase’s 
shoulder. About the foot of the vase softer and 
richer colors, red and golden, appear in some 
fruits lying on the table, among them being no- 
ticeable the transltcence of the white grape. 


Signed at the lower right, A. Vollon. 


No. 121 


FRANK BRANGWYN 


ENGLISH, CONTEMPORARY 


A GROUP OF ARABS 


Height, 181, inches; width, 151%,inches. 
39g = _ O- : 

n a busy public square of an Oriental town 
half a dozen turbaned Arabs have gathered in 
a half circle in the shade or shadow of an unseen 
building—or possibly an awning—all interested 
in what one of their number, a sidewalk merchant, 
has before him. ‘The painter has been interested 
in studying their types and varied facial expres- 
sion, and has given us a striking transcription of 
their emotions as reflected in their diverse linea- 
ments—from stolidity and dull smiles to an 
awakening, intelligent interest in the disclosures 
of the center of their attraction. Back of them 
in strong sunlight innumerable figures are sug- 


gested in the populous market place, and from 


the middle distance a dignified bearded man in a 


turban and cloak is observing the foreground 


group. 
Signed at the lower left, F. B., 96. 


ae ee 


No 122 


W. L. BRUCKMAN 


DUTCH, CONTEMPORARY 


DUTCH LANDSCAPE 


Height, 13 inches; length, 17 inches. | 
/ —— a Ww. J Oi ne 


Here is shown a patch of low and level country, 
the fields cut up into the more or less checker- 
board strips which are seen in some European gar- 
den lands, their colors varying with the growths 
they sustain. In the center of the middle distance 
is an artificial quadrilateral body of water, part 
of one of its banks bordered by pollard willows. 
Beyond lies the town, with its red roofs and 
square-towered church, under a sky of the palest 
robin’s-egg hue along the horizon, above which 
gray cloud masses mount toward the zenith. 


Signed at the lower right, W. L. Bruckman. 


No. 123 
GEORGE H. BOUGHTON, N. A. 


AMERICAN, 1834-1905 


MPEANOING GIRL. °° ZO 


Height, 22 inches; width, 13 inches. 


ya 
diya es5 delightful sylvan vision 4 sepdircce and airy ‘e 


grace, though with no want of substance, either. 
A tall, fair young woman of robust charms is clad 
in a flowing veil of filmy lace, which takes the 
color of the pink flesh before the figure, and as it 
flies behind her shimmers in its transparency with 
the green of the fresh, humid grass on which she 
dances. Resting firmly on one foot, she poises the 
toe of the other on the turf before her, as she 
faces the left, three-quarters front. Her arms are 
extended full length above her head, supporting 
there folds of the veil, and she has flowers in her 
golden hair and a single jewel in her girdle. Back 
of her are the deep, suggested mysteries of a 
wood, and above her the sky is of the rich blue 


of lapis-lazuli. 


j 7 jo No. 124 
ADOLPHE MONTICELLI 
FRENCH, 1824-1886 - 
A FETE : 


Height, 13%, inches; length, 191% inches. | 


pire (Panel) : 
_A happy riot of color. What dreams, what : 
visions a man must have to see in the mind’s eye ) 
such a chromatic effulgence, glorious in itself, in 
which the essential human figures—women, always 
women !—seem almost incidental to the splendor 
of the pigmentary illusion! Here, before the sug- 
gested mystery of a deep wood, half a dozen of 
Monticelli’s swaying visions of female loveliness 
and sartorial brilliance are amusing themselves at 
the base of a huge urn of flowers, the light falling 
full upon them at their revels. Of the two prin- 
cipal figures at the center, one wears a brilliant 
red gown, with full train, whose folds reveal its 
color in a variety of tones; the other, in a reddish- 
brown robe with cream-white front split by a long 
red sash, appears to be holding what may be a 
gay-plumaged bird out of her friend’s reach. 
Signed at the lower left, Monticelli. 


ae 
From Dowdeswell & Dowdeswell, London. cs 44x oi 


No. 125 


~CAROLUS DURAN 


FRENCH, CONTEMPORARY 


HEAD OF WOMAN 


Height, 18 inches; width, 2 inches. 


/ 
om a stout youngwoman 1s 6 Ym ho Fe Feag7 
and shoulders, facing to the/left and seen“4in pro 
file. She has a heavy mass of dark brown hair, 
with reddish lights in it, which projects over her 
forehead and in its loose “do” conceals her ear. 
About her neck is loosely tied a pink scarf, and 
her brown jacket is open at the chest, revealing 
a white waist with greenish suggestions. Her 
somewhat heavy features are in a marked repose, 
and she gazes steadily and thoughtfully before 
her. : 

Signed at the lower right, Carolus-Duran, New York, ’98. 


hee 


No. 126 


LOUIS METTLING 


FRENCH, 1847- 


COMFORT OF THE SCRIPTURES 


Height, 18%4 inches; width, 12%, inches. 


pO OE {arheasls Ve Walfeir 
An elderly woman, with firm, thoughtful feat- 


ures and expression, is seated in a carved wood 
chair, facing three-quarters to the left, but with 
head turned full toward the spectator. She is seen 
at full length. On her lap is a large illuminated 
Bible, wide open, her knotted hands affectionately 
caressing the leaves. She has paused in her read- 
ing to ponder a passage, her eyes directed toward 
the floor a little way off in reflective gaze. Her 
old reddish-brown skirt is matched in color by her 
cap, whose strings hang loosely over her shoul- 
ders. Her waist appears gray under the influence 
of reflected lights; she wears a white kerchief 
loosely knotted at the chest, and the lap of her 
skirt is thriftily covered with a light apron. A 
quiet painting of interesting quality and strong 


content. 


a 


al 
‘ 


4 
ee et Ary 5-5 Se ae 


AE a i 
sa NS Se ee aS % 


ie 


No. 127 


WALTER C. HARTSON 


AMERICAN, 1866- 
THE PUMP 


Height, 20 inches; V3. we 


[ae path runs ton a grass-grown Mar 
yard, leading past an old wooden pump to two 
thatched-roof brick cottages, one at the left, the 
other crossing the picture and bounding the 
courtyard and the view. On a hedge before this 
cottage an old woman is spreading linen to dry 
in the sun, and other articles are bleaching on 
the lawn under some tall, scrawny trees in early 


Autumn foliage. 


Signed at the lower right, Walter C. Hartson. 


No. 128 


EUGENE PAUL ULLMAN 


AMERICAN,| CONTEMPORARY 


| 


ON THE BEACH AT DIEPPE “J J 


Height, 14 inches; length, 191% inches. ot 


ax 
— 


7 (Panel) alae | 
he Vr F (3 | 

A canvas full of color and sunlight—just a | 
bit of the open air at the seashore. The rocks and | 
sands of the great beach of the foreground are 
luminous and almost iridescent in the multi- 
_ plicity of their coloring. In the middle distance 
irregular lines of waves roll in and break in white 
and green—beyond them a wide reach of the 
Channel, under a pale and even sky. On various 
parts of the beach children in bright Summer 
clothing are at play—notes of joyousness in the 


brilliant atmosphere. 


Signed at the lower left, Hugene Paul Ullman, 


ae 


ae 


/) 


Sg 


fuer 


ae 
- 


Ly 


No. 129 


J. FRANK CURRIER 


AMERICAN (DECEASED) 


IN SERIOUS MOOD 


This is a Ad of a very old-fashioned look- 
ing and preternaturally solemn small boy. The 
gifted artist was in Munich with Mr. Chase. The 
boy, in a dark coat and a white, rolled-over collar, 
is seen in head and shoulders, facing to the right. 
His head is turned three-quarters to the spectator, 
at whom Master Solemnity looks soberly and in- 
tently, almost with a look as of rebuke for injury 
done, or at least felt, in the mysterious young 
mind. He has red cheeks and yellowish hair, and 
the head is interestingly modeled. It is a low- 
toned canvas, with all interest concentrated in the 
head, and a background which seems to be only of 


atmosphere. 


_ Height, 20 inches; width tutte puta 
a oo Pie. a 


No. 130 


GEORGE INNESS 


_ AMERICAN, 1825-1894 


Se 


Z 3 | SH AWANGUNK MOUNTAINS 


Height, 14 inches; length, 21 inches. { 

bk Sires Pe 1 

An unusual Inness, but written all over with . 

his name and his feeling for Nature. At the left 7 

some light trees screen the landscape, the sunlight 7 
filtering among their leaves. Thence to the right 
sweep the far mountains, their green tops, broad 
and level, seen against a sky of robin’s-egg blue 
with gray clouds, and bounding a green, sun- 
lighted valley. On a nearer hillside there is an 
outcropping of rock in a huge boulder. It is a 
painting of quality and subtle tones, in the rich 


landscape and clear air. 


Signed at the lower left, G. Inness, 


es 


Ye, No. 131 4 
GEORGE H. BOUGHTON, N. A. 


AMERICAN, 1834-1905 
LOITERING 


Height, 12 inches; length, 2334 inches. 


(Panel) 


Ee a painting J GIG Ga its 


original title—which not all pictures do—and a 
good Boughton, too. On the back of the panel 
is written, in ink: “Loitering. G. H. Boughton, 
London, 1872.” In a grass-grown dell sheltered 
at either side by bushes and low trees, and at the 
back by a rising, irregular open country, a 
group of people are picnicking toward the end 
of an Autumn day, when the shadows are begin- 
ning to thicken. At the left in the foreground 
two small girls with a bottle and bowl, who 
seem to have been sent for water, are loitering 
in the shade of flowering bushes, whose blossoms 
they leisurely pluck. 

Signed at the lower right, G. H. Boughton, 1872. 


P / 9 No. 132 


ANTOINE VOLLON 
FRENCH, 1833-1900 


jag: 8, 
2 _.PORTRAIT OF ROSA BONHEUR WHEN 
ee YOUNG 


7 


Height, 21 inches; ade 17 inches. 


O60 — COVE 
This portrait, which is of the same ferigd as the 
head of a man by Vollon which hangs in thé Luxem- 


bourg, shows the young Miss Bonheur with sober 
features, yet half-smiling, too, in a quiet, reserved 
and self-contained way. She is shown head and 
bust, and turned slightly to the left, but with her 
face full upon the spectator, her eyes directed 
slightly downward. The face is thoughtfully 
modeled and the features are refined; they are not 
the heavier ones familiar in presentments of her 
later years. She wears, though not unamiably, an 
expression of slight aloofness. The hair is simply 
dressed, and she appears in a dark cloak with a 
loose white collar, and a green tie adjusted in a 
plain, square-end bow, against an _ olive back- 
ground. An interesting contrast, this portrait, in 
its black directness, with the luscious still lifes 
which came later from Vollon’s brush. 


Signed at the lower left, A. Vollon. 


fie 


No. 133 
LOUIS EUGENE BOUDIN 


FRENCH, 1824-1898 


A BATHING RESORT | ee 


2 y Height, 1414 inches; length, 23 inches. _ 

ee rrr th we 
In this early canvas Boudin is seen in very dif- tt 
ferent manner from that with which his name is 
associated through the freer work of his later 
years. In depicting an assemblage of people on 
the beach at a bathing resort he has been almost 
photographic in the placing of them. In varied 
costumes of the period and colors of Joseph’s coat 
suggestion—at any rate, they are many—men, 
women, and children with their bonnes, sit or stroll 
on the beach near lines of bathing machines. It 
was the day of the hoopskirt. Some of the figures 
and the quality of the costumes are suggestive 
of Alfred Stevens. A stiff breeze is blowing, and 
while bright sunshine falls upon beach and people, 
the sky to windward is overcast, and an elderly 
man, with whiskers, directs attention to the ap- 
proaching storm. 


Signed at the lower right, E. Boudin, 1864. 


/ AON ae 


No. 134 


EUGENE LOUIS GABRIEL 
ISABEY 


FRENCH, 1804-1886 


- HEAD OF A WOMAN 


Height, 2114 inches; width, 16% inches. 


ot 
—— 


ke head that at first glance or suggestion mig 
have been by Diaz. A fair-complexioned youtg 
French girl, whose blond hair is warmed and 
lighted with red, is facing the spectator, her head 
turned slightly to her right so that she looks be- 
yond him, pensively, as into space. She is seen 
head and bust and wears a filmy gown of blue, 
which hangs loosely about her shoulders, revealing 
the neck. Her hair is garlanded and her head is 
framed in a bower of flowers and trees, befitting 
the eyes, which seem to see far-off visions, and the 
dreamy expression and pose. Purchased from the 
Isabey sale, and bearing at the lower right the 
stamp in red, ‘**Vente Isabey.” 


— 


No. 135 


JULES BASTIEN-LEPAGE 
FRENCH, 1848-1885 
COURTSHIP PG 


Lae 


of a larger picture, and therefore in the nature 
of a sketch, though in parts it is apparently car- 
ried as far as the artist had intended to carry it. 
‘It is a yokel courtship, but not the less interest- 
ing for that. ‘The awkward young man’s sandy 
hair is matched and bettered in the feminine red 
(which is little more than blond, after all) that 
falls in knotted ‘“‘pigtail’’ braids between the girl’s 
solid yet supple shoulders, whose substantial model- 


oe 201% inches; width, 18 inches. 


is canvas presents itself as a first conception 


ing is not concealed beneath the light, close-fitting 
jersey. She leans, back to the spectator, against 
the fence rail, where the lovers have met at the 
stile. He, on this side of the fence, facing three- 
quarters toward the spectator, leans with his 
elbow next hers. Below and around them is the 
green and blossoming vegetation of country gar- 
dens, bounded in the distance by a red hillside; 
and signs of neighboring domesticity hang on 


nearby lines. 
Signed at the lower left, J. Bastien-Lepage. 


ee 


No. 136 


GEORGE H. BOUGHTON, N. A. 


AMERICAN, 1834-1905 
AUTUMN 


Height, 24 inches; width, 16 inches. 
Ve Bf Winn. 

The figure of a tall, dark woman, not in the 
first blush of youth, but in the experienced con- 
fidence of young womanhood, comes in the direc- 
tion of the spectator through the maze of a light 
wood, with Autumn leaves hanging and falling all — 
about her, her serious gaze directed slightly to 
her left. She is seen in three-quarter length, 
wrapped in a black gauze, which both wreathes 
her head as a mantilla and as a mantle veils her 
graceful form. <A spirit, perhaps, of approaching 
days of the sombre season, but very human, too, and 
apparently not only coming but about to pass. 
The painter has fixed a moment of the beauty 
which fades, and in the design and the unusual 


coloring has left a most attractive canvas. 


Pe 


No.41387 


JOHANN SIMON HENDRIK 
KEVER 


DUTCH, 1854- 


DUTCH INTERIOR 


ane Height, 2a ches; width, 19pinches. 
oe hee es 
In a room of y walls, with a reddish-brown 


floor, a woman in a low-seated chair is instructing 
a child, who stands against her knees looking 
earnestly up at her. The woman, with dark hair, 
leans shghtly forward, facing the right, her face, 
which is turned three-quarters front, appearing in 
shadow as the light falls from back of her shoul- 
der. Her dress is of dull tones, as is that of the 
child, who has tow hair. 

Signed at the lower left, Kever. 


jr 


No. 138 


WALTER L. PALMER 


AMERICAN, CONTEMPORARY 


UNDER THE WILLOWS / lO 


ee 


Height, 24 inches; width, 18 inches. 


(Water Color) 


ce Sea: Sees es 
ClO : Geena 
A revelation, possibly, to some people, who 


think of Palmer only as the man of the snows. 
Here he is seen in a warm landscape of Summer— 
a moist green meadow at the foot of round-topped 
blue trees; on its hither side three tall and rugged 
trees at the edge of a foreground brook, which 
reflects their shadows in varied hues. An atmos- 
pheric mist tinges hills, trees, water and clouds 
with multi-colored refractions of the sunlight. 


Signed at the lower left, W. L. Palmer. 


No. 139 
ALFRED STEVENS 
BELGIAN, 1828-1906 

EXPECTANCY 


Height, 2834 inches; fade 13 inches, 
UI — Si pee Hee 


A young woman of luscious lips, large eyes and 


a wealth of dark hair, stands at her opened win- 


» dow looking out with a queer, not unwilling smile, 


~ at some one not seen by the spectator, who may be 


in a neighboring house. ‘The tall piles of adja- 
cent buildings appear through the window, across 
a green and tree-grown garden. The young 
woman, who wears a blue-green kimona, embroid- 
ered with many-colored blossoms, leans gracefully 
against the high windowsill, where the light falls 
full on her face, hands clasped and patient. Be- 
fore her on a table, with a rich coverlet and 
adorned with a growing plant, an open letter lies, © 
its envelope fallen to the floor, while her inquisi- 
tive pet dog, seated on his haunches on the floor, 
looks inquiringly up at her. 


Signed at the lower right, A. Stevens. 


Ate 
A 


No. 140 


JAMES A. MNEILL WHISTLER 


AMERICAN, 1834-1903 


Lt “— THE ’CELLO PLAYER 


foot we Sree 24 inches; width, Q0cinches. ; 
A free and sketchy canvas, but with much care- . 


ful modeling in the head of the dignified musician, 
who is shown at three-quarters length, seated and 
facing the left, but with his head turned boldly 
to his left, so that he is seen almost full face, his 
eyes looking squarely, openly and thoughtfully 
into those of the spectator. He has full, brown 
locks, which he wears rather long, but brushed 
away from his prominent forehead, and a reddish- 
brown beard. He is clad in a bluish-black cloak 
and gray-blue trousers, and sits easily and com- 
fortably, leaning back in an attitude of momen- 


tary rest, his ’cello beside him. 


No. 141 


7 GIOVANNI BOLDINI 
pe : ITALIAN, 1844- 


HEAD OF YOUNG GIRL 
Height, 24 inches; width, 19 inches. 


(Panel é 


eB 6 | (3 | 
A young Italian woman, with a mas of brown 
hair dressed in a heavy knob at the back of her neck 


_ and “frizzed” over her low forehead, is shown in 
head and bust, her face appearing nearly in pro- 
file. Her eyes are bright and her rouged lips are 
parted in a vague smile. Her plump arms are 
bare, the black bodice is cut low, and over her 
shoulders she draws a bright blue silk shawl, em- 
broidered with bright colored flowers. 


Signed at the upper right, Boldini. — 


ee 


No. 142 


ALFRED H. MAURER 


| 3,0 
AMERICAN, CONTEMPORARY / “) 


CAFE SCENE, LATIN QUARTER 


perish, Q4, cage width, 20-inches. y, 


Fi) 
Z 3 vam A WL AZ) CAN 
In the interior of Pee nical: Paris café of the 


student quarter is seen a motley assortment of 
guests, including the inevitable silk-hatted man 
against the wall, and the young women without 
whom the humanity of a French place of refresh- 
ment is not complete. The costumes here are all 
dark, but bits of color in the gray atmosphere 
appear in the women’s hats. 

Signed at the lower left, A. Hf. Maurer. 


Exhibited at Pennsylvania Academy of Fine Arts, Seven- 
teenth Annual Exhibition, 


No. 148 
\, : CHARLES H. DAVIS 
Be O ae AMERICAN, CONTEMPORARY 


FROSTY MORNING IN NORMANDY 


res 18 np length, 26 hes. 


A cool, crisp, ae any air eae over a Nor- 
mandy hillside of cultivated fields, the long ridge 
of the hilltop in the distance crowned with woods. 
At the foot of the slope in the middle distance 
a long line of village houses project their roofs 
above the land of the foreground, which is higher 
again, developing into a level, grass-covered plot 
sustaining occasional flowers among the grasses. 
Here, too, is a line of tall and crooked trees which 
still retain their yellow Autumn leaves. 


Signed at the lower left, C. H. Davis. 


ee 


Mano... eee ee 
es pet 


a 
jee 
No. 144 


ADOLPHE MONTICELLI 
FRENCH, 1824-1886 


A PICNIC PARTY 


Height, 18 inches; length, 26 inches. ee ‘ 


(Panel) VA 
This gorgeous canvas is a pigmentary Re 
well as the story of a gay divertisement. The be- 
holder temperamentally equipped for enjoyment 
of a polite orgy in color can give his senses sway 
and dream of ancient intrigues unpunished, where 
there were no societies for minding other people’s 
business. On this remote terrace, screened by 
kindly and colorful woodlands but in the full radi- 
ance of the light from aloft, the brilliant pic- 
nickers of a joyous people, in elaborate costumes, 
can enjoy Nature and gallantry at the same time 
—and are doing so. A rift in the distant foliage 
exposes a glimpse of a discreet, approving sky. 


Signed at the lower right, Monticelli. 


ce. 


xX 


P 


Cte HENDRIK BREITNER 
putcH, 1857- 


A / SLEEPING GIRL 


ox” 


Height, 23 inches, width, ne 
Who but a painter or the true amateur would 
see, would find, a canvas such as this? It may 
safely be said, no one. A canvas which surely was 
painted to please the painter himself, regardless 
of whomsoever else might appreciate or admire it; 
an. artistic accomplishment. The girl, a child of 
heavy features, wrapped in a red kimono worked 
with hawthorn blossoms in pink, white, heliotrope 
and black, has thrown herself down on a couch, 


feet still on the floor, lain her head on olive cush- 


Ss 2 oe 


ions and closed her weary eyes in slumber. Back 


of her a flat screen or paneled wall is adorned in 
floral motives of red and white and green on a gold 
ground. Couch and floor are covered with rich 
Oriental fabrics of complicated design and color- 
ing. It is no pose. She is nestling in her pillows 
and is sleeping there, and the man who saw her 
has known how to paint her and to convey the 


presence of the room. 


Signed at the upper right, G. H. Breitner. 


No. 146 
ANTONIO MANCINI 


ITALIAN, CONTEMPORARY 


ST. PETERS, ROME 


Height, 3Q inches; length, 23%, inches. . 
2 6 ae J Sec = (°c. VW (Ah 
So strongly impressionistig¢—the pigment lai 


on heavily with the palette kwife or straight from 
the tubes in copious masses—this canvas cannot 


be seen from a near point of view and carry any 


meaning. But from its proper distance, it ap- 


pears a painting of a rich, if strange, quality, as 
of substantial palaces built of marbles of many 
hues and rising in splendor against an imposing 
sky, whose cloud-ramparts of purplish-gray inter- 
vene between the pile of earthly might and the 
cerulean zenith. Below in the foreground are 
sombre reflections in the river. A fine painting. 


Signed at the lower right, A. Mancini. 


a a 


No. 147 
EVERIT SHINN 


AMERICAN, CONTEMPORARY 


a 


£ 


WINTER IN TOWN / Vinee, 
i ee 


Height, 23 inches; length, 27 inches. 


(Pastel) 


S | C 
[2o— NA fe Oe re. 
One of the sketchy~yét completed drawings in // 


color with which Mr. Shinn captured the town some 
years ago. He has depicted a downtown street 
where high-stooped houses with green shutters 
remain with the persistence of a rugged age, neigh- 
bors to other relics with steep Dutch roofs, amid 
modern structures of hopelessly commercial archi- 
tecture. The day looks like one of an incipient 
blizzard, and very realistic soot- and smoke- 
stained snow is piled more than ankle deep over 
the sidewalk, where a young woman holds on to her 
hat in the gusty wind. 

Signed at the lower right, EH. Shinn. 


ME, 2 BS Pe Ee a ag ee ee Ee oy et eee 


No. 148 


GASTON LA TOUCHE 


FRENCH, CONTEMPORARY 
A SYMPATHETIC LISTENER 
Height, 28 inches; width, 23 inches. 


ee 


ot ek 


In me Salar of a French YO. ince 


nished, a young woman in a white, fluffy house- 
gown, more or less negligée, and open at the 
throat, is seated in an easy attitude leaning back 
in her chair and resting on her left elbow. Her 
reddish-brown hair, though lhghter, matches more 
or less that of the older, bearded man who sits 
just back of her, reading,—a scene of cozy com- 
fort in a white and gilded hall. A shaft of light 
falls upon the figure of the woman, striking her 
hair but leaving her face in transparent shadow, 
and illumines an ornate panel of the wall behind 
her. Under her elbow are a cup and saucer which 
she has laid down. 


Signed at the lower left, Gaston La Touche, 1900. 


3 ies 


| 


No. 149 


PAUL HELLEU 


FRENCH, CONTEMPORARY 


A YOUNG PARISIENNE eek J Gs 


Height, 29 inches; width, 21 inches. 


( Pastel) hac. 
ve ve 
( an es attractive ie iV a typical chile 

French woman, in street attire, executed mainly in 
black and white and red. She is seated facing the 
front, her head turned slightly to her left and 
glance directed downward. Her knees are crossed 
and her clasped hands resting on them hold the 
handle of her parasol. She leans forward on her 
left elbow. Her delicate features and rose-bud 
mouth are just a little prim but far from disdain- 
ful—quite the contrary. Over her shoulders is 
thrown a black lace shawl. 


Signed at the lower left, Helleu. 


F . » 
ee 
‘ lh 


ee : | ty 
Bi be / No. 150 


Ma / 
peor .° KENYON COX 


Ay | AMERICAN, CONTEMPORARY 


THE HARP PLAYER 


i Sg Sl oS Height, 30 inches; width, 18 inches. 
Bi Sone Ja 
; a This is one of the finest canvasés that the artist | 
Bee has ever painted, purely as a matter of painting 
To many painters it is interesting beyond any o 


Mr. Cox’s decorations. The subject might have 
been more attractive, perhaps, the soloist of more 
beauty—beauty cannot be claimed for her—but the 
composition and its execution are worthy of study; 
it comes close to being Kenyon Cox’s masterpiece. 
The young matron, with red-brown hair, is clothed 
entirely in red. She is seated in the middle of the 
canvas, before an olive wall on which pictures are 
hung, her gilded and decorated harp tilted against 
her shoulder as she plays, her eyes directed at 
the strings and her active fingers. The figure is 
solidly done, the room has atmosphere, the mem- 
bers of the composition take their place, and the 
attitude of the player is one of confident poise. 
Signed at the lower right, Kenyon Cox, 1888. 


No. 151 
FRANK BRANGWYN 


ENGLISH, CONTEMPORARY 


SUNLIGHT AND SHADOW ra 


3 oe” 25 we width, 30 inches. 

| ae study in deep Yo, pve effect. ee 
In the foreground in the deep shadow cast by two 
tall, thick-foliaged trees and a tall building at 
the right, two figures in peasant dress are seated 
on the ground, leaning against one another. 
Their backs rest against a mound from which 
grows a small tree that is also in shadow, while at 
their left another figure is seen still more ob- 
scurely. In the background a gray barn with a 
red roof reflects the sunshine, save where it, too, is 
shadowed by the umbrageous canopy. An attrac- 
tive composition of noticeable strength. 


Signed at the lower right, F. B. 


No. 152 


ANTOINE VOLLON 
FRENCH, 1833-1900 


Height, 2534 inches; length, 32_inches. 


led) ee fe ih. 
A luscious canvas,—in the fruit, in color, in 


quality and in surface. It bespeaks the time of 
ripeness and of freshness at once—peaches white 
and rosy, a golden pear browning in the fullness 
of its season, grapes black and white and grapes 
with the pink and topaz of the malagas, over- 
flowing a bowl of old blue porcelain whose sympa- 
thetic face is lightened and modified by the reflec- 
tions and shadows of the plump and kindly fruits. 
At the left stand a golden bronze lamp and lan- 
tern, on a table whose green cover has the deep 


tone of a sonorous bell. 


Signed at the lower right, A. Vollon. 


No. 158 


HENRY MUHRMAN 


AMERICAN, 1854- 
) 
yt 


KEW BRIDGE 


Height, 24 inches; length, 361% inches. 


A(g ~ _ Vy. here 
& most effective (2. Via argely in deep 


tones. ‘The gray, heavy, stone-arched bridge ex- 


tends athwart the canvas, the incline of its road- 
way rising toward the left. Up this a load of hay 
is slowly proceeding, the load, driver and horses’ 
backs silhoutted on a gray sky. Before the bridge, 
and largely in deep shadow, a confused mass of 
shipping and rigging appears,—black, red and 
green hulls, and reddish-brown sails roughly 
stopped along masts or yards. An imaginative 
composition which seems to have interested the 
artist largely in a study of nearly related grayish 
values, in the sky and bridge and the reflections 
of the sky in the river beyond the shadowed arches. 

Signed at the lower left, H. Muhrman. 


is 
No. 154 


JOHN LEWIS BROWN 
ENGLISH, 1829-1890 
COMING See 3 


Height, 29 inches; length, 37 inches. 


5 we ye By. YUL 

his picture, by the/inan whom Boldini Cau 
- laughing, is a sombre canvas and heavy, but with 
some fancy in it. <A group of horsemen and 
pedestrians are gathered on a broad, flat and sandy 
ocean beach, an arm of the land at the right ex- 
tending out into the sea in the middle distance, in 
the form of a high bluff. Beyond the bluff is seen 
what light remains in the troubled sky, which 
elsewhere throughout is black and tumultuous with 
the driving clouds of a coming thunder storm. 
Against the blackened, frowning water, a light 
gray horse and the bright apparel of some of the 
figures on the beach stand out in the foreground, 
and other horses are moving beyond them in the 


gloom. 
Signed at the lower right, John Lewis Brown. 


540 = oe Ge 


Ce 


No. 155 


F.C. FRIESEKE 


AMERICAN, 1874- 


GIRL WITH GREEN SASH 


Height, 46 inches; length, 32 inches. 


In this canvas, which has been to Chicagof and 
other exhibitions, the artist has presented a ‘well- 
constructed, full length portrait of a woman, ef- 
fectively painted, kept simple in manner and yet 
attaining in the quality of its color a low, musical 
harmony, with a single strong accent in the emer- 
ald-green sash. Her dress is white and filmy, with 
a many-flounced skirt and transparent half-sleeves, 
and a single jewel at the moderately low neck. Her 
veil conceals nothing of her thoughtful features. 


Signed at the lower left, F. C, Frieseke, 704, 


peer | 
a 


& 


Jw 


: 0 Ce 
oe 


((00 = 


g? 


Le 


No. 156 


ALFRED STEVENS 
BELGIAN, 1828-1906 
ON THE BEACH 


Height, 33 “oe length, 463/, inches. 


“A swell painting,” is the almost irresistible re- 


mark. A scene in early moonlight on a broad 
ocean beach and over a wide stretch of sea. ‘The 
moon, not far above the horizon, is screened by a 
low-hanging band of heavy dark clouds, the moon- 
light brightening the heavens above these clouds— 
where there are a few stars—and making brilliant 
the ocean below them. Nearer at hand both sea 
and beach are in the transparent shadow cast by 
the clouds. On the wet beach of the right fore- 
ground men and a boy are at work on a boat that 
has been beached, and beyond them other figures 
are working near a high and laden cart whose 
horses are standing tandem ahead of it. To the 
left and in the distance are sail and a steamer, out 
in a sea that near at hand rolls in gentle breakers 


up the beach. é 
Signed at the lower left, A. Stevens, ’89. 


9 7° 
re No. 157 


AUGUSTIN THEODULE RIBOT 
FRENCH, 1823-1891 
THE ARTIST’S DAUGHTER 


, Height, 51 inches; Avidth, 381, inches ' 
Pol 0 Dogs (3. Yr Larne 
This remarkably fine canvas would adorn any 


museum in the land and is distinctly a museum pic- 
ture. One can scarcely look at it without seeing 
it immediately in such surroundngs. It carries its 
own atmosphere with it, and the atmosphere is of 
the dignified precincts of an institution where art 
is reverenced and may perhaps be understood. It 
is difficult, too, to convey a sense of its charm, the 
home-reaching appeal which the picture makes; 
but it makes it with a quiet insistence that is com- 
pelling and you welcome it and feel indebted to it 
as though it had a personality, as indeed it has.. 
The artist’s daughter is also an artist, and she 
is shown here in full length in her working gown, 
palette and brush in hand, standing beside a green- 
covered table on which are some tubes of colors. 
Wonderfully simple, this scheme of gray and rich 
green, but fairly stunning as it is presented here. 
The gray of the gown is as of the inviting patina 
of old pewter, and the green of the table coverlet 
has the depth and tonal brilliance of an emerald. 
Signed at the lower right, A. Ribot. 


O 
Ue Ad 
ra No. 158 


. GASTON LA TOUCHE 


FRENCH, CONTEMPORARY 


(THE MASQUERADE BALL—GRAND 
) OPERA HOUSE, PARIS 


Height, 57 inches; width, 57 inches. 
Vis one ee ee 
~ A brilliant scene in the lobby of the Paris 
Opéra, with a throng of men and women in the 
center and mounting the grand staircase in cos- 
tumes of many colors, many of the persons being 
masked. Much of the joyous display is in a 
golden effulgence which is diffused throughout 
the central section of the composition. It is a 
night of gaiety, mirth and revel. At the foot of 
one branch of the stairway in the foreground a 
masked lady with auburn hair and low corsage 
is just turning to mount, with her masked and 
costumed escort. Half way up, two coryphees, 
one with red hair and one with black, in the cos- 
tume of the ballet, salute each other in the spirit 
of the occasion in terpsichorean attitudes while the 
nearer spectators turn to see. ‘There is an effu- 
sion of color and great detail, light and life, all 
merged in a will-o’-the-wisp allure. 


Signed at the lower center, Gaston La Touche. 


Salm 190%~ #490 4 


~ 


No. 159 


ALFRED H. MAURER 
‘ mene AMERICAN, CONTEMPORARY 
/ LO THe RENDEZVOUS 


Height, 36%, 4 


s; length,32 inches. 
TF fm Fo 


—_— 


The interior of a Paris 
all Paris—is pictured. It 


less in the Latin, Montparnasse or Montmartre 
quarter, with grayish-white, plain paneled walls, 
yellow ceiling and brown floor, red upholstered wall 
sofas, white marble table tops and bent-wood chairs. 
In the foreground, in black street dress, veiled and 
seen in profile, a woman awaits the other partner 
to the rendezvous, her French poodle beside her 
wearing a sprig of red ribbon. At the right, at 
another table, a girl in a red hat is writing and 
another in buff coat and yellow and blue hat looks 
over the writer’s shoulder. 7 

Signed at the lower left, Alfred H. Maurer. 


Exhibited at the one hundredth anniversary exhibition of 
the Pennsylvania Academy of Fine Arts, 1905. 


_ 


Oo og? 

Dee 
No. 160 

HANS MAKART 


AUSTRIAN, 1840-1884 


5 od 
4 MIDSUMMER NIGHT'S DREAM ay 
. Height, 73 ene. et h,! 112 L, on 
gee ea 
A deep-toned canvas Lege h Lard the mystery Ne. If 


night, and in its color and fanciful composition 


- coming from the land of dreams. Its green-blue © 


sky twinkles with stars, and below enduring cypress 
trees two lovers, couched on a shelf of rock, 
are watched over by two loves. Above the love 
garden other figures appear, one with a lantern, 
and a chattering simian is pictured close to a 
curious woman. From beneath the lovers’ couch 
a spring flows to a basin amid ferns and fruits. 


Signed at the right, Hans Makart, 1868. 


“157 5757 
AMERICAN ART AssoCIATION, 


Managers. 


Tuomas E. Kirsy, 


Auctioneer. 


Vv 


EPRESENTED AND 


e 


STS R 


re, 


nae? 


ae do 


ae ee Oo mate 


ARTISTS REPRESENTED 
THEIR WORK 


ALOTT, Roserr 
Market in the Orient 


BAKKER-KORFF, Atexanprer Huco 
Old Lady Knitting 


BARLOW, Myron 


Confidences 


BARYE, A. L. 
Landscape 


BASTIEN-LEPAGE, Jutes 
Courtship 


BLAKELOCK, Ratru H. 
Landscape 


BLOMMERS, Bernarpus JOHANNES 
Children Playing on the Seashore 


BLUM, Rosert 
The Toilet 


Venetian Boatmen 


AND 
CATALOGUE 
NUMBER 


50 


7A 


100 


103 


10 
23 


BOCK, 'THrOPHILE DE 


Houses at Scheveningen 


BOLDINI, Grovannt 
Head of Young Girl 


BONVIN, Francois Saint 


The Blacksmith’s Helper 
La Brodeuse 


BOUDIN, Louis EvcEne 


Boats on the Beach 
Harbor Scene 

A Bathing Resort 
The Bathing Hour 


BOUGHTON, Georce H., N. A. 


Landscape 
Grace 
Godspeed 

A Dancing Girl 
Loitering 
Autumn 


BOULARD, A. 


Exterior 
French Peasant Houses 


BRANGWYN, Frank 


A Group of Arabs 
Sunlight and Shadow 


CATALOGUE 
NUMBER 


55 
141 


34 
106 


40 
46 
133 
104 


ie 
21 
52 
123 
131 
136 


25 
Q7 


121 
151 


CATALOGUE 
NUMBER 


BREITNER, Georcr Henprix. 
Sleeping Girl 145 


BROWN, Joun Lewis 
Coming Storm 154 


BRUCKMAN, W. L. 


The Backyard 28 
Amsterdam 67 
A Village on the Cliffs ek 
Dutch Landscape 122 


BUNCE, W. Gepney 
Venetian Boats =~ 580 


CALAME, ALEXANDRE 
Landscape 


CARLSEN, Emi 
The Big Black Kettle 


CLARK, Atson SKINNER 
Watertown in Winter 57 


COCK, Ck&sar DE 


The Stream 62 
COSSAAR, T. 
Church Interior ; 54 


A Hillside Town 58 


CATALOGUE 
NUMBER 
COURTENS, Frans 
Landscape—Trees and Yellow Leaves 90 


COX, Kenyon 
The Harp Player 150 


CURRIER, J. Frank 


Tumultuous Clouds 75 
In Serious Mood 129 


DAVIS, Cuarues H. 


Frosty Morning in Normandy 143 
DE WILD 
Feeding Time 32 


DU FAURE, O. Faser 
Arabs 11 


DUPRE, J ULES 
Moonlight Landscape 99 


DURAN, Carouvs 
Head of Woman 2 tes 


EATON, Wyatt 
Lassitude 56 


FLAMENG, Francois 
A Ball Game at Toledo 39 


m8 y ay 


FORAIN 
A Patient Fisherman 


FRIESEKE, F. C. 
Girl With Green Sash 


FROMENTIN, Evcene 
Moonlight—Arab Encampment 


GABRIEL, Paut JosePH CONSTANTINE 
Children at the Shore 


GIUSTO, Cuaruer Faust 
An Oriental 


~GROS, Lucien ALPHONSE 


The Sleeping Soldier 


HAMON, Jean Lovuts 
Wall Flowers 


HARTSON, Watrter C. 
The Pump 


HAWLEY, Bensamin 
In the Café 


HELLEU, Pavui 
A Young Parisienne 


CATALOGUE 
NUMBER 


78 


83 


116 


65 


109 


37 


127 


A] 


149 


CATALOGUE 
NUMBER 
HUBBELL, Henry S. 
A Poet (Montmartre Type) U7 


INNESS, GeorceE 


Landscape : 82 
Shawangunk Mountains 130 


ISABEY, Evctne Louis Gasrier 
Head of a Woman 134 


KEVER, JonHann Stmmon Henprix 
Dutch Interior 137 


LAMBINET, Emite 


Landscape “1 
LANCON, A. : 
The King of Beasts 3 13 


LA TOUCHE, Gastron 7 
The Green Bathroom 4.4 


A Sympathetic Listener 148 
The Masquerade Ball—Grand Opera 


House, Paris 158 


LE BLANT, Juxien 
The Pot Hunter 69 


| LEPINE, STANISLAS 
The Seine—Paris 
Landscape 


LE SUIRE, H. Von 
Spring Landscape—“Vorfriihling”’ 


MAKART, Hans 
A Midsummer Night’s Dream 


MANCINI, Antonio 


Head of a Young Italian Girl 
Italian Boy 
St. Peter’s Rome 


MANET, Epovarp 
The Old Boat 


MARCKE, Enite Van 


Study of a Cow 
Sartle (razing ~ {-* 


MARIS, WitteM 
In Holland 


MARQUES, Francisco Dominco y 
A Spaniard 
Soldiers on Horseback 


9 


CATALOGUE 
NUMBER 


160 


48 
89 
146 


60 


18 
oF 


86 


CATALOGUE 
NUMBER 


MATHON, E. 
Les Chantiers de Cateaun a Dieppe les, 


MAURER, Atrrep H. 
Café Scene, Latin Quarter 142 
The Rendezvous 159 


MAUVE, AnTOoN 
Cows Under Trees — Study for a 


Large Picture 5 
Landscape with Cows 2 
Girl Knitting 101 
Sheep 114 


MESDAG, Henprik Wives 
Marine 53 


METTLING, Louis 


Weary of Spinning 29 
Still Life—Fruit 78 
Thé Pottery Merchant 102 
Comfort of the Scriptures 126 


MICHEL, Georces 


Landscape 22 
Over the Great Moors 68 


MONTICELLI, Avo.rHe 


Figures and Color 14 
Harmony in Yellow 16 


CATALOGUE 


NUMBER 
MONTICELLI, Avotrene (Continued) 

Autumn Landscape 66 

Three Girls 93 

A Féte | 124. 

A Picnic Party 144 
MOORE, ALBert 

Courtship 94 
MORRICE, James Witsoy 

La Communiante 16 
MUENIER, Jutes Atexis 

Twilight—A French Village 4Q 
MUHRMAN, Henry 

Kew Bridge 153 
MURA, Frank 

The Little Shepherdess 31 

The White Calf 43 

NITTIS, Giuserri pr 

Winter 3 
PALMER, Waurter L. ; 

Under the Willows 138 


PASINI, Aserro 


Interior of a Mosque zt) 


CATALOGUE 
NUMBER 
PENNINGTON, Harper | 
A Reader : ) Q 


PERRINE, Van D. . 
The Flower Market in Winter, New 
York 119 


RAFFAELLI, Jean Francois 


Outskirts of Paris—Summer After- 
noon | 61 


RIBOT, Aveustin THEODULE 


Head of a Woman — 95 
The Artist’s Daughter 157 


RICO, Martin 


Near Venice 15 
The Italian Coast | 63 
Italian Cypress Trees 719 


ROLL, AtFrrep PHILIPPE 
A Father’s Hope 59 


ROYBET, Frerprnanp Victor LEron 


Head of a Young Man 107 
The Young Musician 110 


SHINN, Everitt 
Winter in Town 147 


Nene tick agg ee 


i Sn Geo ee ee 


SPRING, A. 
Girl with Jug 


STEVENS, Arrep 
On the Balcony 
Marine 
Head of a Brittany Girl 
Head of a Young Woman 
A Daylight Moon 
Expectancy 
On the Beach 


THAYER, Asnsorr HenvEerson 
Head of a Woman 


TISSOT, James 
At the Window 


TWACHTMAN, J. H. 


World’s Fair Exposition Buildings 
Boats 
A Venetian Canal 


ULLMAN, Evucene Paur 


Corpus Christi Procession 


On the Beach at Dieppe 


VILLEGAS, Jose 


An Arab 
The Guard 


CATALOGUE 
NUMBER 


84 


12 
26 
64 
85 
105 
139 
156 


118 


ney 


393 
81 
96 


36 
128 


i 
108 


VINEA, F. ae na | 
After the Bath ~ shaker peveane 20 — 


VOLLON, Anro1ne 


Still Life - | Q4 
Landscape—Tréport | Sibi OO 
Still Life—Oysters, ete. — Ad 
Landscape—Dieppe “| +88 
Fish | 92 
Still Life wee 
Landscape pe Speed le: 
Fish m the Market 112 
Flowers 120 
Portrait of Rosa Bonheur When ~— 
Young — 132 
Fruit ae 4 


WESTERBECK, C. | 
Dutch Cattle : 30. 


WHISTLER, James A. M’Neitu 
The ’Cello Player 140 


WILLEMS, Frorenr 
Lady in White Satin 115 


ZIEM, Freurx BR 
Back of Venice 35 


ZUGEL, HeErricu 
A Narrow Passage 51 


| £e¢e 


I 


3S Bring al 


- Total of $22,415 


y 


- @# -¥Night’s Auction. — 


Ls My - 


é& 


xt ‘ 


MR. VANDERLIP A PURCHASER 


| Makes ‘the Bidding ‘Lively on Several 


| Important Canvases—The — Bids 


|sale at the Hotel Plaza last night of the | 


~~ and Buyers. 


1 
ainer 


One of the season’s most’ significant | 


events in art circles was the first night’s 


William Merritt Chase private collection 
lof pictures--an event which brought. 
| artists and connoisseurs flocking to bid 
upon that which has had the stamp of 
excellence put upon it because chosen 


by Mr. Chase. In allseventy-eight paint- | 
ings and water colors were sold by | 
Thomas E. Kirby of the American Art 

Galleries and a total of $22,415 was bid. 

~ The bidding was brisk but not unusual. 

Those who came.to buy had already 

looked ‘over the Chase collection care- 

fully, knew just what they wanted and | 
‘how much they wished to pay ‘for it. 
The dealers were quick to snap up some 
of the finer oils that Mr. Chase had col-' 
lected for himself-but to a private col- 


ilector, Frank A. Vanderlip, went the 


honor of being the heaviest bidder. Mr. 

\Vanderlip kept after everything he 

‘wanted, even though he had to run thg, 

bidding up high, and some of the top 

‘prices were paid by him. | | 
| The heaviest bidding was upon a Michel, 

a bleak, gray landscape called “Over the 

‘Great Moors,” wherein a vast expayise of 

heavy, wet sky sags low over golden 

browns and drabs of moorlaad. The 

‘price was up to $500 before Mr. Kirby 

had taken a second breath, then the bid- 

ding narrowed down and wavered be- 

tween two for the space of several min- 

utes. Col. Robert Woodweird _ finally 

got the picture for $1,150. /It was said | 
after the sale that Col. Woodward would 

present the picture to the Brooklyn Insti- , 
tute gallery. imme fees 


t 


eS the Bath 


Seana [secon se 
dla fy Knitting, 
Bak! fer-Korit, UL 


T ae bee 
8—Le 4 dscape, Rain Al : 


M..C, shies hes 
10— fhe Toilet, - 
aie os F, Du 


tee ee ee meee 


ig 

“j4—Figures and Color, Adolp 
f John Quinn. gas) 
As—Near Venice, Martin ico 
he Haraduy in. Yellow, 

celli; I. A. vapgeriig aie 
47—Landseape, George A. 
| Meredith Hare... .......4..; ‘ ie 
16 Sey ae a com ‘smile | an Mi al 


Vander! ay Had 
19—Am, ‘analy Jose V re 
Dressler. che eee ‘hy cee 


21 GeRee George ‘e Boughton: | 


SOD gfe ois in fos, ia alte pala Aen K ahs pegs Aye sgh 3 
aay Venegas. Fe oatmen, ene a Ee 
24—-Still Life, Antoine Vollar; He co He 


25—Exterior,.A Sys ated 
Cask achat Alfred S vens; | 


or—Fvsiich ‘Peabaiil fHouses, A. Bowiara’ Di 
—Fre S ouses, A, ee Wega 
Y Mrs. Eduard S. Ellwagen.....:.. ey 
28—The Backyard, WL. Bruckman; Mrs. toa 
Eduard S, Ellwagen.....,.....5,...5. 225. 
29—Weary of Spinning, | Louis: Mettling; — Rais 
se ROPRSEDILE, 0.04: tee ty conae nny 1504 
80-—Duieh Catto, Cc. Westerbeers; “Mr. ate: 
31-The ne Little Shepherdess, Fran ira: ant 
9oFeealing miner De Wild; Irving Rl | 
33—World’ ‘S| Fale qeaposition ‘Buildings, | 
J. H. Twachtman; A.C. Bare As 275 | 
ae Hiseue ee a Pepe Frangoi 
hs 


ae a Honolns ©. A pie SM Giitige el 


eye Se Pee Ph) gy sis % it 


2b ee ee cee 


te ee 


a eee 


ea ae ey 


PPS eh ee 


tafe so ws wie helen © wee ip ey 


pe, are Monil- 
Vane eee 


a 


ee Ce nO er ee eer ee 
Caen aCe ee ee 


1 pene a. ee te sive 
Mckinno Spe it: epee nee te 

ife— ile “Louls © pre 

: hy . waives Cae ee oy oat ey 


ETTY RESEARCH INSTITUTE © 


SO 


3 3125 01662 9467 a 


—(G) 


